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THE  WILEY  TECHNICAL  SERIES 

FOR 

VOCATIONAL  AND  INDUSTRIAL  SCHOOLS 

*  EDITED  BY 

J.    M.    JAMESON 


THE     WILEY     TECHNICAL     SERIES 

EDITED   BY 

JOSEPH  M.  JAMESON 

GiRARD  College 


TEXTBOOKS   IN   DRAPTINQ  AND  DESIGN 


Decorative  Design.     A  Tc.\lb<^Kik  of  Practical  Methods.     By  Joseph  Cummings 

Chase,  Instructor  in  Decorative  Design  at  tlie  College  of  the  City  of  New  \ork 

and  at  the  Woman's  .Vrt  School,  Cooper  Union,     vi+73  pages,  8  by  loj,  340 

figures.     Cloth,  Si. 50  not. 
Agricultural  Drafting.     Hy  Charles  B.  Howe,  M.K.     S  by  10,'.  viii  +  o.i  pages, 

45  figures,  lO  plates.     Cloth,  Si. 25  net. 
Agricultural  Drafting  Problems.    .\  Manual  to  Supplement  the  text  in  .\gri- 

cultural  Drafting.    By  Charles  B.  Howe,  M.li.    26  plates,  8  by  10 J.   In  paper 

cover,  50  cents  net. 
Architectural    Drafting.     By  A.  B.  Greenderc,  Stuyvcsant  Technical    lliuli 

School.  Niw  York;  and  Charles  B.  Howe,  Hushwick  livening  Ilij;h  Sihool, 

lirooklyn.     viii+iio  pag-s,  8  by  loj,  53  fi^ur.s,  12  plates.     Cloth,  $1.50  net. 
The  Orders  of  Architecture.   A  Manual  to  Supplement  the  te.xt  in  .Xrcliiteclural 

Drafting.     By  .\.  Benton  Greenberg      20  plates,  8  by  10 J.     In  paper  cover, 

50  cents  net. 
Mechanical  Drafting.     By  Charles  B    Howe,  M.K.,  Bushwi.k  Evening  High 

ScImoI,  IJrookiyii.    .\+ 147  pages,  SXioJ    1 05  figures,  38  plates.   Cloth. Si. 75  net. 
Drawing  for  Builders.     By  R.  Buruette  Dale,  Formerly  Director  of  Vocational 

Courses,  Iowa  Stale  College.     v-)-i06  pages,  8  by  lof,  69  figures,  5°  plates. 

Cloth,  81.50  net. 
Sheet    Metal  Work,     lly   Charles   B.   Howe,   M.E.,  and  Wakken  P.  Doing. 

(In  I'nss,  Ready  l-'all   igiS.) 
Costume  Design  and  Illustration.     By  Ethel  II.  Traphagen,  Instructor  and 

Lecturer  at   CoOiKT   Union,  etc.     i.x+us  pages,  8  by   10,'.     Upwards  of  200 

illustrations,  inclu.ling  several   in  color,  and  a  Color  Spectrum  Chart.     (Moth, 

$2.50  net. 

IS  I'REI'A  KA  TIPS 

Engineering  Drafting.  By  Charles  U.  H')We.  M.E.,  Bushwick  Evening  High 
School,  Brooklyn;  and  Samuel  J.  Berard,  Sheffield  Scientific  School,  Yale 
University. 

I- or  full  .uuuninn-mnil  src  list  fatUmin?,  imlcx. 


Drawing  by  Urian 


Frontispiece 


Courleey  of  Harper's  Ba 


COSTUME  DESIGN 
AND   ILLUSTRATION 


ETHEL    TRAPHAGEN 

Instructor  and  Lecturer  at  Cooper  Union,  The  New 
York  Evening  School  of  Industrial  Art,  and  Brooklyn 
Teachers'  Association  Classes;  formerly  on  the  staff 
of    Dress   Magazine   and    The   Ladies'    Home   Journal 


RST       EDITION 


NewYork  1918 

JOHN     WILEY    &    SONS,     Inc. 

CHAPMAN    &    HALL,    Limited  London 


BC^^rnS"--' 


BIGHT,    1918,    BY 

EL  TRAPHAGEN 


TT 

501 


328007 


THIS  BOOK  IS  SINCERELY  DEDI- 
CATED TO  MY  STUDENTS,  WHOSE 
ENTHUSIASM  AND  SUCCESS  HAVE  BEEN 
ITS    INCENTIVE   AND    INSPIRATION 


THE  PREFACE 

Costume  Design  and  Costume  Illustration  are  not  always  looked 
upon  as  distinctly  different  branches  of  what  is  termed  fashion  work, 
but  in  truth  there  is  a  marked  difference  between  them. 

In  the  former,  one  must  consider  the  judging  of  color,  and  all  that  this 
includes  by  way  of  harmonies,  contrasts,  areas,  etc.;  the  relation  of  spaces; 
proper  proportions;  and  the  beauty  and  effect  of  line,  balance  and  scale 
arrangements  for  the  production  of  a  design  that  is  dignified,  fanciful, 
frivolous,  dainty,  formal,  or  subtle,  to  express  the  designer's  conception 
of  the  purpose  of  the  costume  and  its  suitability  to  the  wearer. 

The  costume  illustrator,  on  the  other  hand,  has  the  privilege  of 
representing  the  garment  after  it  has  been  designed — he  must  be  able 
to  render  the  material  with  his  pen,  pencil  or  brush  in  such  a  way 
that  the  actual  design  is  not  robbed  of  anj^  of  its  charm.  Of  course, 
there  are  many  ways  of  doing  this,  according  to  the  technique  and 
sensitiveness  or  temperament  of  the  artist,  as  well  as  the  different 
methods  customary  for  the  special  use  for  which  the  design  is  intended. 
It  can  easily  be  seen  how  advantageous  it  is  to  any  fashion  artist, 
whether  designer  or  illustrator,  to  have  an  understanding  of  both  branches 
to  get  the  best  out  of  either,  for  they  have  much  in  common. 
The  designer  and  the  illustrator  should  both  have  a  knowledge  and  a  keen 
appreciation  of  the  beautiful  lines  of  the  human  form,  to  know  what 
lines  are  important  to  emphasize  and  what  to  conceal  in  a  figure  which 
may  not  be  perfect.  Drawing  from  the  nude  is  of  great  advantage  to 
the  student,  and  no  serious  costume  illustrator  should  be  without  this 
valuable  training. 

There  are  some  books  which  may  help  the  ambitious  student  in  the  life 
class  to  observe  and  impress  on  the  mind  fundamental  facts  which  it  is 
believed  most  life-class  teachers  will  agree  in  thinking  extremely  useful. 
Among  these  are  Dunlop's  Anatomical  Diagrams,  Figure  Draiving  by 
Hatton,  Anatomy  in  Art  by  J.  S.  Hartley,  Richter,  Marshall  or  Duval,  and 
Drawing  the  Human  Figure  by  J.  H.  Vanderpoel.  If  the  student  is  studying 
without  an  instructor.  Practical  Drawing,  by  Lutz,  will  be  found  helpful. 

Ethel  H.  Traphagen. 

New  York,  1918. 


THE        CONTENTS 

CHAPTER  PAGE 

I.  Sketching 1 

II.  Drawing  without  Models     ....  13 

III.  Methods 27 

IV.  Color 63 

V.  Design 75 

VI.  '    The  Fashion  Silhouette  .....     83 

VII.  Period  Fabric  Design 91 

VIII.  Outline  of  Historic  Costume  ...     99 

IX.  Bibliography .     .127 

X.  Artists    whose    Work   Has   Bearing 

ON  Period  Fabrics  or   Costume.  .  .   131 

XL       Index 137 


SKETCHING 

CHAPTER    ONE 


COSTUME    DESIGN  AND   ILLUSTRATION 

CHAPTER  ONE  SKETCHING 

1.  Forms. — In    both    lines    of    fashion  farthest  point  out  of  the   other  oval,  to 

work  it  is  necessary  to  be  able  to  con-  represent   the  skirt.     Connect   these   and 

struct  quickly  a  form  on  which  to  sketch  you  have  a  form.     See  Fig.  1.     The  bust 

or  design  a  dress,  and,  like  the  forms  in  and  hip  should  be  on  a  line,  and  for  the 


Fig.  1. — First  steps  in  constructing  a  dress  form. 


store  windows,  this  should  be  constructed 
to  enhance  the  good  lines  of  the  garment. 
Care  must  be  taken,  however,  never  to 
confuse  this  with  the  human  figure,  the 
structure  of  which  is  entirely  different. 

The  simplest  way  of  obtaining  this 
form  is  by  drawing  two  ovals.  First, 
make  a  straight  line  for  the  shoulders, 
then  swing  an  oval,  somewhat  foreshort- 
ened, from  the  shoulder  line,  to  repre- 
sent the  waist.  Next,  swing  another 
more  elongated  oval,  from  near  the  end- 
ing points  of  the  first  oval,  having  the 
farthest    part    out    always    opposite    the 


present-day  silhouette  the  connecting  lines 
should  be  but  slightly  curved. 

Next,  extend  the  two  lines  for  the 
sleeves,  add  the  collar  and  put  in  the 
centre  line,  which,  in  the  front,  follows 
the  outside  line  of  the  waist  and  goes 
straight  in  the  skirt.  See  Fig.  ^.  (Of 
course,  the  proportions  differ  according 
to  fashion;  i.e.,  the  normal  waist  would 
go  but  twice  into  the  short  skirt  of  the 
summer  of  1916.)  It  is  interesting  to 
note  how  the  reverse  of  this  straight  line 
and  curve  forms  the  back.  In  making  the 
back,  connect  the  ovals  in  the  same  man- 


Page  T^ 


SKETCHING 


ner,  Ixit  note  that  the  centre  Hne  goes 
straight  in  the  waist  and  curves  in  the 
skirt.     See  Fig.  3. 

The   waist  and   collar  lines  curve   up. 
The  normal  waist  goes  into  the  skirt  about 


the  straight  full  front  view,  because  of 
the  advantage  of  showing  the  side  of  the 
dress  as  well  as  the  front.  An  examina- 
tion of  fashion  publications  will  prove 
how  general  is  this  preference. 


two  and  a  half  times,  and  the  sleeves 
bend  at  the  waist  line  or  a  little  above. 
The  supporting  points  at  the  shoulder, 
elbow,  and  hips  should  be  marked,  for 
it  is  these  points  that  most  affect  the 
drapery. 

With  a  little  application,  these  forms 
may  soon  be  mastered,  and  the  practice 
of  doing  them  rapidly  and  turning  them 
both  ways  makes  for  proficiency.  See 
Fig.  4.  Observe  that  three-quarter  front 
and  back  views  are  used  in  preference  to 


2.  Summary. — The  main  points  to  be 
remembered  are  that  the  bust  and  hips, 
for  the  present  silhouette,  should  be  on  a 
line,  that  the  arms  bend  at  the  waist  line 
or  a  little  above,  and  that  the  normal 
waist  goes  into  the  instep  length  skirt 
about  two  and  a  half  times. 

In  the  front  view  remember  that  the 
centre  line  follows  the  outside  line  in 
the  waist  and  goes  straight  in  the  skirt, 
that  in  the  back  the  centre  line  goes 
straight  in  the  waist  and  curves  in  the 


SKETCHING  A  GARMENT 


Page  Three 


skirt.     (The  centre  hne  is  the  centre  of 
the  actual  figure,  not  of  the  sketch.) 

The  collar  and  waist  lines  curve  up  in 
the   back   and   down   in   the  front.     The 
bottom    of    the    skirt    describes    a   circle; 
therefore,   like  the 
waist    and    collar,       ,  ^ 

the  line  curves,  but  ir-Mi.  U M.y  .. 
always  downward. 
The  shoulder  lines 
should  be  made  to 
slant  as  much  as 
the  silhouette  re- 
quires. 

For  this  work 
use  an  H.B.  pencil, 
Eberhard      Faber, 

Ruby  or  Emerald  ,^^ 

eraser,   and  emery  '"^ 

board    pad.      The  '^'«* 

point  of  the  pencil 
should  be  kept 
very  sharp  by  con- 
tinually pointing  it 
on  the  pad.    From  -  - 

the  start  great  at-  ' 

tention  should  be 
paid  to  a  clean-cut 
and  beautiful  line 
and  to  the  proper 
placement  of  the 
sketch  on  the 
paper.    See  under  "  Greek  Law,"  page  27. 

3.  Sketching  a  Garment. — After  the 
form  is  mastered  up  to  this  point,  the 
next  step  is  the  sketching  of  a  garment 
on  the  foundation  drawn.  If  possible,  have 
as  a  model  a  simple  dress  or  suit  on  a 
I*  coat-hanger,  or  preferably  a  dressmaker's 
form;  then  find  the  centre  line  of  the 
garment  and  see  that,  in  sketching  it 
OQ   the  oval  form  first  constructed,  you 


have  the  centre  line  of  your  sketch  cor- 
respond with  the  centre  line  of  the  gar- 
ment.    You  will  find  the  proper  observa- 
tion of  the  centre  line  an  infallible  guide 
in  giving  you  the  proper  relation  of  the 
sketch  to  the  gar- 
ment. 
^^^  Next    observe 

the    large,    impor- 
tant facts — such  as 
\  length  of    sleeves, 

.'  \'i  length  of  coat,  the 

-       '  long,   important 

lines— and  be  par- 
ticular to  put  in 
the  seams;  but 
leave  details  such 
,  -    ,  as   embroidery, 

lace,  tucks,  plaits, 
*'^'«^  gathers,  etc.,  until 

the  last.    See  Figs. 
5,  6,  and  7. 

After  the  lengths 

/    of   the   sleeves, 

:  ■■:-         waist,    coat,    etc., 

are    determined, 

you  must  strive  for 

skill  in   keeping 

your  pencil  line 

clean    and    sharp. 

This   gives    the 

much-desired,  well 

pressed    newness    to    the    garment.      To 

keep  this  effect,   beware  of  too   rounded 

curves.      After    the    sketch    is    finished, 

some     accents     should     be     put     in,     in 

places  where  shadows  would  naturally  be; 

this    gives    added    interest    to    sketches. 

From    the   first,    observe    and    work    for 

texture.     Notice  how  delicate,  light  lines 

express  thin  material  better  than  heavy, 

hard  ones.     After  ability  of  this  kind  is 


Fig.  5. — Pencil  sketch  of  a  suit, 


Page  Four 


SKETCHING 


d-(U 


acquired,  the  next  step  is  to  work  for 
speed.  Garments  in  shop  windows  give 
excellent  opportunity  for  sketching  when 
the  student  is  trying  to  acquire  speed. 

4.  Sketching  from  Memory. — Training 
the    memory    in 

sketching  is  also 
most  important.  A 
good  way  to  do 
this  is  to  sketch 
from  memory 
what  has  been 
drawn  from  ths 
garment  the  day 
before.  Another 
good  way  is  to 
observe  a  dress 
either  in  a  shop 
window   or    on    a  -'^^uu. 

person,  and  then, 

without  again  -T 

looking  to  aid  the 
memory,  to  try  to 
put  on  paper  all 
you  remember.  It 
is  well  to  verify 
this  sketch  by 
comparing  it  with 
the  garment,  to 
find  out  how  much 
you  have  forgotten 
and  where  you 

have    made    mis-  pic.  G.-]'reIin,iMnrv 

takes.    To  be  able 

to  sketch  from  memory  is  a  truly  valu- 
able asset  in  costume  work.  So  much 
can  be  carried  away  in  one's  mind  from 
"Openings"  and  places  where  sketching 
is  not  possible. 

5.  Sketching  from  Garments.— A  knowl- 
edge of  the  proper  way  to  sketch  gar- 
ments   such    as    gowns,    hats,    and   acces- 


sories, is  absolutely  necessary  in  fashion 
work.     It  is  helpful,   first  for  j'our  own 
convenience    when    you    see    things    you 
wish  to  remember,  or  when  you  wish  to 
explain  things  seen  to  some  one  else,  next, 
in  gathering  ideas 
to  adapt   to   your 
own    designs,    and 
again,   in  doing 
;>  sketching  for  news- 

papers or  maga- 
zines.    Designers 

for   manufacturers 

'- 6„,-,.'  gn(j    j^    ^   great 

*'"  '*  "  boon  to  be  able  to 

sketch  in  their  ex- 
ploring trips  in  the 
shops  and  along 
Fifth  Avenue. 

Sketching  for 
manufacturers  is 
done  for  two  pur- 
j.oses:  To  give 
them  the  latest 
French  models 
from  the  "Open- 
ings" from  which 
to  make  exact 
copies  or  some- 
^  tiling    adajjled    to 

llieir  special  trade 
needs,  and  to  give 
luil  skoitli(ii:i  f;own.  them  an  inventory 

of  their  own  stock 
for  their  reference  and  convenience. 

Sketching  for  dressmakers  is  a  little 
line  of  fashion  all  its  own.  The  sketches 
for  them  nmst  be  daintily  finished,  as 
they  are  to  be  shown  to  the  customer 
and  plaj'  an  important  part  in  the  sale 
of  the  gown  represented.  The  simple 
ones  (see  Fig.  (i)  are  done  in  pencil,  with- 


^ 


SKETCHING  FROM  GARMENTS 


Page  Five 


Fig.  7.—  Illustrating  a  variety  of  details 


out  heads,  but  with  a  styhsh  foundation  but  as  a  rule  the 
form  under- 
neath, with 
sometimes  a 
little  color 
added  in  the 
background  to 
throw  the 
sketch  out. 
Sometimes  they 
are  still  more 
finished  though 
without  heads,  Pig.  s, 


more  finished  dress- 
makers' sketches 
are  done  on 
figures  express- 
ing some  action 
and  illustrating 
the  presumed 
efTect  of  the 
gown  on  the 
wearer.  See 
Figs.  13  and  14. 
When  sketch- 
es   are  being 


Page  Six 


SKETCHING 


done  for  embroideries,  an  additional  small 
detail  drawing  should  be  made  of  the 
embroidery  at  the  side  of  the  paper.  Tex- 
tures and  colors  should  always  be  noted 
on  the  sketch  as  well  as  details,  such 
as  the  number  of  buttons, 
etc  ,  in  order  that  there 
may  be  no  confusion  when 
making  the  finished  sketch 
at  home  or  in  your  studio. 
A  convenient  size  for 
rough  sketches  is  six  and 
one-half  inches.  Practical 
sizes  for  finished  dress- 
makers' sketches  are  from 
ten  to  twelve  inches  when 
heads  are  included;  with- 
out heads,  six  and  one- 
half  or  seven  inches. 
AVide  margins  lend  dis- 
tinction. 

Some  of  the  well  known 
French  designers  are  Paul 
Poiret,  Cheruet,  Beer, 
Callot  Sa?urs,  Paquin, 
Martial  and  Armand, 
Francis  and  Drecoll.  Al- 
ways note  the  designer's 
name  on  your  sketch  as 
well  as  the  texture,  color, 
and  detail.  The  name  of 
the  design  always  en- 
hances the  value  of  a 
sketch.  Always  place 
these  sketches  on  the 
paper  according  to  the  Greek  Law,  i.e., 
most  margin  at  the  bottom  of  the  paper. 

When  making  a  finished  sketch  of  this 
kind,  a  pretty  pose  should  be  chosta, 
and  this  should  be  thought  out  and 
practically  finished  in  pencil;  then  draw 
in   the   garment   carefully   before   putting 


Fig.  9.- 


on  the  color.  The  usual  method  is  to  put 
in  the  shadows  first,  the  light  big  washes 
next,  and  the  detail  last.  Clear  color  is 
used  as  a  rule  but  opaque  or  tempera  is 
often  used  in  small  areas  combined  with 
the  clear  color  sketch; 
sometimes  opaque  paints 
are  substituted.  (See  Page 
9  and  description  under 
Color,  page  G8.)  Pen-and- 
ink  outlines  are  often  used 
for  these  sketches  and  kid 
bristol  or  illustration  board 
is  considered  the  best  kind 
of  paper. 

6.  Hats.— INIuch  of  what 
has  just  been  stated  ap- 
plies also  in  sketching 
hats.  Care  should  be 
taken  to  express  the  most 
characteristic  side  of  the 
hat;  in  other  words,  catch 
its  "feature."  Be  careful 
not  to  lose  the  relation 
of  the  crown  of  the  hat 
to  the  head.  When  pos- 
sible, it  is  best  to  have 
some  one  pose  for  you  to 
insure  the  right  angles. 
See  Fig.  1^2. 

Before  going  into  this 
further,  consult  Section 
lo,  page  17. 

Theatrical  designs  and 
sketches  are  carried  out  in 
the  manner  of  the  other  sketches  of 
hats  and  dresses,  but  a  greater  liberty 
in  the  way  of  eccentricity  and  exaggera- 
tion is  permitted.     See  Fig.  9. 

7.  Accessories. — In  connection  with 
sketching,  the  student  would  do  well  to 
pay  attention  to  accessories  such  as  col- 


? 


^i" 


liy  WiiUnm  Gcbhardt 
Theatrical  design. 


SKETCHING  FROM  LIFE 


Page  Seven 


lars,  sleeves  and 
shoes.  It  tends  to 
much  greater  facility 
on  the  part  of  the 
student  to  arrange 
these  according  to 
the  Greek  Law  of 
proportion,  page 
27.  For  sugges- 
tions see  Fig.  11 
on  this  page. 

8.  Sketching  from 
Life. — Sketching 
from  life  is  strongly 
advised;  drawing 
from  the  nude  is  of 
great  advantage 
when  done  with  un- 
derstanding. In  all 
sketching  and  draw- 
ing it  is  advisable  to 
block  in,  or  in  other 
words,  sketch  with 
light  lines  the  general 
proportions,  using 
tentative  or  trial 
lines  and  "feeling 
for"  the  form.  See 
Figs.  15,  16,  18,  and 
19. 

Never  complete 
one  part  before 
another  part  is 
thought  out;  never 
fix  your  attention 
on  the  outline,  but 
rather  on  general 
proportion,  or  the 
result  will  be  un- 
happy. See  Fig.  17. 
Decide  where  your 
drawing  is  to  begin 


♦\//:  < 


'■^'-Wf 


Courtesy  of  ( 


Fig.  10. — Crayon  drawing. 


Fig.  11. — Shoes  drawn  by  Elfrida  Johnson. 


on  the  paper,  and 
where  it  is  to  end, 
leaving  good  mar- 
gins (more  at  the 
bottom  than  top) , 
and  block  in  between 
these  spaces.  After- 
wards make  sketches 
from  memory  of  the 
pose  you  have  been 
studying. 

When  doing  rapid 
sketching  to  catch 
the  action  of  a  figure 
in  motion,  indicate 
the  position  of  the 
head,  hands,  and  feet 
and  fill  in  the  rest. 
Excellent  practice  is 
obtained  in  doing 
five,  seven,  ten,  and 
fifteen  minute  poses 
from  the  nude  or 
draped  model. 
These  quick  sketches 
often  afford  good 
action  poses  that  can 
be  carried  out  and 
used  to  great  advan- 
tage. See  Figs.  40  and 
41.  This  sketching 
will  be  most  helpful 
in  assisting  the  stu- 
dent to  obtain  a  pro- 
fessional touch  and 
an  individual  style. 

More  and  more 
stress  is  being  laid 
on  the  well-drawn 
figure  underlying  the 
fashion  drawing  and 
too  much  emphasis 


Page  Eight 


SKETCHING 


cannot  be  put  on  the  value  of  drawing 
this  figure  with  understanding  and  appre- 
ciation. Great  care  should  be  given  the 
study  of  hands 
and  feet,  as  these 
play  an  impor- 
tant and  telling 
part  in  fashion 
work.  See  Front- 
ispiece and  Figs. 
10,  27,  and  28. 

The  student  is 
advised  to  make 
copies,  by  way  of 
study,  from  the 
hands  in  Vaiider- 
povVsIfiinun,  Fi,/- 
inr  and  llien  lo 
mako  studies 
from  lilV.  It  is 
iiiij)()rlaiit  in  lliis 
work  U)  obser\-e 
from  which  side 
the  light  is  com- 
ing. (Sec  Figs. 
28  and  2!).) 

It  is  practical 
to  make  the  lil'c 
studies  in  a  loose, 
artistic  manner, 
in  charcoal,  chalk, 
etc.,  and  after- 
wards to  draw 
from  this  sketch 
another  figure, 
coi)ying  the  pose 
and  keeping  the 
action,  but  refin- 
ing it  slightly,  to  make  an  at  tractive  fashion 
drawing  on  which  to  put  the  dress  from 
one's  costume  sketch .     See  Figs.  40  and  4 1 . 

Lutz,    in    his    book    entitled     Practiced 
Drawing,  wisely  says: 


"When  drawing  from  life,  it  is  a  good 
plan  to  put  yourself  in  the  same  pose  as 
the  model;  that  is,  imitate  as  well  as 
you  can,  the  ac- 
tion, the  disposi- 
tion of  the  limbs, 
and  the  pose  of 
the  head.  This 
mimicry  —  it  will 
only  be  that  some- 
times, as  you  will 
find  that  different 
persons  have  dif- 
ferent ways  of 
carrying  them- 
sehes,  and  you 
can  perhaps  only 
api)roximatc  the 
pose  of  the  model 
— will  give  you  a 
better  understand- 
ing of  the  pose 
and  impress  itself 
on  you  mentally 
and  further  the 
work  of  pictur- 
ing it. 

"Note  how, 
when  the  hips 
slant  one  way, 
the  shoulders,  to 
counterbalance, 
incline  the  other 
way; and  the  head 
again  to  preserve 
the  balance,  tilts 
away  from  the 
falling  shoulder.  This  applies  to  the 
greater  part  of  poses.  Sometimes,  though, 
models  deviate  from  the  general."  This 
is  valuable  advice  to  observe  in  your 
work. 


SKETCHING  FROM  LIFE 


Page  Nine 


Figs.  13  and  14  show  two  treatments  of 
the  same  kind  of  sketch.  Fig.  13  is  done 
in  a  realistic  way,  in  Fig.  14  the  conven- 
tional method  is  used.     In  Fig.   13    Hght 


in  clear  water  color.  The  tempera  paint 
is  put  on  in  one  flat  tone  and  allowed  to 
dry ;  the  other  colors  are  then  put  on  over 
this     The  opaque  paint  has  the  advantage 


); 


^   ^ 
.^\' 


y-^ 


i  .> 


-^. 


Fig.  13. — Complete  dressmaker's  sketch  done  in  trans- 
parent water  color. 

and  shade  have  been  considered  while  in 
Fig.  14  these  have  been  eliminated. 

Fig.  13  has  been  done  in  transparent 
water  color,  Fig.  14  is  done  in  tempera, 
an  opaque  or  body  color,  except  the  chif- 
fon, flesh  tones,  and  hair,  which  are  done 

*  With  flat  transparent  washes,  pencil  lines  often 


Courtesy  of  Henry  Block. 
Fig.  14. — A  dressmaker's  or  manufacturer's  sketch 
in  tempera  colors. 

of  being  able  to  be  worked  over.  It  is  best 
to  avoid  shading,  and  to  keep  to  flat  tones. 
In  this  sketch  the  folds  are  indicated  with 
strong  pencil  lines ;  this  same  line  effect  can 
be  done  with  lighter  or  darker  values  of 
the  tempera  used  for  the  garment.* 

are  used  most  eff'ectively  in  making  a  colored  sketch. 


Page  Ten 


SKETCHING 


\s 


Courtesy  0/  Vic  Prang  Co. 
Fig.  15. — First  stage  of  sketch  of  dog. 

The  illustrations  on 
this  page  show  one  of  ' 

the  most  important 
things  to  be  considered 
in  all  kinds  of  draw- 
ing, whether  it  be  from 
life,  from  memory, 
chicing,  or  even  copy- 
ing, and  that  is  get- 
ting the  general  pro- 
portion and  action  of 
the  whole,  before  con- 


'> 


'^ 


Courtesy  of  the  Prang  Co. 
Fio.  17. — Incorrect  way  to  start  a  sketch. 


Courusy  of  the  Prang  Co. 
3. — Second  stage  of  sketch  of  dog. 


centratiiig  on  any 
one  part  in  detail ;  re- 
membering never  to 
finish  one  part  before 
the  other  parts  are 
thought  out.  Fig.  17 
shows  the  danger  of 
fixing  your  attention 
on  the  outline.  It  is 
always  advisable  to 
block  in.  (See  Figs. 
15  and  18.) 


r 

A 

7 

V 

\ 

Fig.  18.— First  stage  ol  skcUh  of  boy. 


DRAWING  WITHOUT  MODELS 

CHAPTER      TWO 


CHAPTER  TWO 


DRAWING  WITHOUT  MODELS 


9.  To  Set  Up  a  Well-proportioned  Fig- 
ure.— It  is  best  to  understand  how  to  set 
up  a  well-proportioned  nude  figure  "out 
of  one's  head"  or  chicing  a  figure  as  it  is 
sometimes  called.  See  Fig.  21.  To  con- 
struct this  figure  find  the  centre  of  the 
paper,  through  which  run  a  vertical  line. 
The  head  is  the  unit  most  useful  in  meas- 


using  one  inch  as  the  unit  of  measure. 
This  gives  the  height  of  the  figure.  Mark 
each  of  these  divisions  with  a  dot.  The 
figure  is  divided  into  four  important  sec- 
tions; the  head,  torso,  arms,  and  legs. 
To  keep  the  drawing  as  simple  as  possible 
we  will  have  to  start,  in  some  detail, 
with  the  head,  it  being  our  unit  of  measure. 


Dravm  hy  Reta  Senger. 


Fig.  20. — Editorial  featuring  infants'  wear. 


uring  the  human  figure,  and  in  this 
instance,  we  will  use  it,  making  it,  for 
convenience'  sake,  one  inch  long.  (The 
dimensions  we  are  using  will  vary  slightly 
from  those  given  in  most  anatomies,  be- 
cause we  are  constructing  a  figure  to 
use  in  fashion  work,  where  slimness  is 
the  chief  requirement.)  Mark  off  on  this 
line  seven  and  one-half  heads,  in  this 
case  seven  and  one-half  inches,  as  we  are 


To  construct  the  oval  which  will  be 
used  for  the  head,  mark  oif  the  first  inch 
and  divide  this  one  inch  vertical  line  into 
three  equal  parts.  At  a  point  just  a 
little  below  the  first  third  just  established, 
draw  a  light  horizontal  line  of  indefinite 
length  and  mark  ofl^  on  it  a  distance 
equal  to  a  little  less  than  two-thirds  of 
the  one-inch  vertical  line  and  so  spaced 
that  the  vertical  line  exactly  bisects  the 


Page  Fourteen 


DRAWING  WITHOUT  MODELS 


horizontal  line.  Construct  an  oval  on  this 
plan. 

Horizontal  lines  drawn  through  the 
points  that  divide  the  vertical  line  into 
thirds  give  the  eyebrows  and  the  tip  of 
the  nose.  A  horizontal  line  drawn  through 
a  point  one-third  of  the  distance  between 
the  eyebrows  and  the  tip  of  the  nose 
marks  the  centre  of  the  eye  socket,  and  a 
horizontal  line  drawn  through  a  point 
one-third  of  the  distance  between  the  tip 
of  the  nose  and  the  base  of  the  oval 
marks  the  centre  of  the  mouth. 

Divide  the  horizontal  eye  structure  line 
into  five  parts;  the  middle  space  represents 
the  width  of  the  nose,  and  the  nearest 
parts  on  each  side  the  eyes.  Guide  lines 
dropped  from  the  centre  of  the  eyes,  ver- 
tically, give  the  corners  of  the  mouth. 
For  the  ears  extend  a  line  a  litlle  beyond 
the  oval  on  each  side  of  tlic  head,  from 
the  first  third  to  tlie  second  third,  or,  in 
other  words,  from  the  line  indicating  the 
eyebrow  to  the  line  indicating  the  end  of 
the  nose. 

Continue  the  bisecting  vertical  line 
down  one-third  of  its  length,  to  establish 
the  pit  of  the  neck.  Draw  a  horizontal 
line  through  this  point.  Drop  guide  lines 
from  the  base  of  the  ear  to  this  line. 
Connect  the  extremities  of  these  guide  lines 
with  arcs  curving  slightly  towards  each 
other,  thus  giving  proper  expression  to 
the  neck. 

10.  The  Torso.— Three-quarters  of  the 
length  of  the  head  gives  the  width  of  each 
shoulder  and  of  each  hip.  Cut  the  dis- 
tance between  the  chin  and  liie  pit  of  tiie 
neck  in  half  by  a  dot  placed  on  the  centre 
line.  Connect  this  point  with  the  point 
made  in  marking  the  width  of  the 
shoulders.       The    point    where    this    line 


intersects  the  curved  line  of  the  neck  is 
where  the  neck  sets  on  the  shoulders. 

The  second  "head"  or  unit  of  measure 
gives  the  bust  line.  Curve  the  line  in- 
dicating the  bust  section. 

The  third  "head"  gives  the  placing  of 
the  abdomen. 

One-half  the  distance  between  the  bust 
and  abdomen,  or  between  the  second  and 
third  head,  is  the  waist  line.  Indicate 
this.  The  centre  of  the  figure  comes 
slightly  above  the  fourth  head,  this  is 
also  the  end  of  the  torso.  The  line  of  the 
hip  is  halfway  between  the  third  and 
fourth  head.  Establish  the  width  of  the 
hip  line  by  verticals  from  the  shoulders. 

11.  The  Legs.  The  knees  come  half- 
way between  the  hips  and  the  soles  of 
of  the  feet.  The  ankles  come  at  the 
seventh  head.  The  width  of  the  ankle 
is  one-third  the  width  of  the  hip  line. 
The  inside  ankle  is  high,  the  outside  ankle 
low.  The  calf  of  the  leg  is  about  one-half 
the  width  of  the  hip,  the  outside  calf 
of  the  leg  is  higher  than  the  inside  calf. 

12.  The  Arms.— The  length  of  the  arms, 
stretched  out  horizontally  including  the 
shoulders  and  the  hands,  equals  the  length 
of  the  body.  The  wrist  comes  at  about 
the  end  of  the  torso.  The  elbow  comes 
at  the  waist  lines.  The  pit  of  the  arm  is 
one  ihird  each  shoulder.  With  these  meas- 
urements established,  block  in  the  figure 
and  features. 

13.  Other  Positions  of  Head  and 
Figure. — The  diagram  of  a  woman's  fig- 
ure on  page  71  of  Dunlop's  Anatomind 
Diagrams  will  be  found  helpful  to  the 
student,  at  first,  in  blocking  in  the  figure. 

After  the  proportions  are  well  under- 
stood, the  figure  and  head  may  be  turned 
in  other  positions;    for  this  the  "tooth- 


THE  FIGURE 


Page  Fifteen 


PIT  OF  ARM  ONE-THIRD  WIDTH 
OF    SHOULDER 

THE  WIDTH  OF  EACH  SHOULDER  IS 
THREE  -  FOURTHS  LENGTH  OF 
HEAD 

SHOULDER  LINE  oa  pit  of  neck 

— ONE-THIED  HEAD  BELOW  CHIN 


BREAST  LINE 


WAIST   LINE   ONE-HALF  WAT  BE- 
TWEEN 2nd  and  3rd  HEADS 


ELBOW  LINE 


END  OF  TORSO  a  little  above 

4tH  HEAD  WHIST  LINE 


KNEE  LINE  is  one-halp  way 

BETWEEN  HIP  LINE  AND  SOLES 


ANKLE  LINE 


SOLES  OF  FEET 


Drawn  by  Gertrude  F.  Derby. 
-Construction  of  fashion  figure  without  model. 


Page  Sixteen 


DRAWING  WITHOUT  A  MODEL 


-Modern  fasliioiis  liy  Jlelcn  Drydcii  «1 


pick  figures"  (see  page  22)  make  a 
good  foundation,  helping  to  make  simple 
the  foreshortening  then  necessary.  For 
suggestions  for  turning  tlie  head  in  dif- 
ferent positions,  see  Fig.  2;5. 

14.  Children's  Proportions. — The  chart 
shown  in  Fig.  24  illustrates  the  propor- 
tions found  in  various  stages  of  devel- 
opment. In  infancy,  or  at  the  age  of 
about  six  months,  the  head  measures  about 
four  times  into  the  height;  at  four  years, 
the  head  measures  about  five  and  one- 
fourth  times  into  the  height;  at  seven, 
approximately  six  and  one-half  times;  at 
ten  years,  about  six  and  three-quarter 
times;  at  fifteen,  about  seven  times;  and 
in  the  adult  from  seven  and  a  half  to 
eight  times.  Children's  heads,  therefore, 
it  should  be  noted,  are  larger  in  propor- 
tion than  those  of  the  adult,  the  eyes  are 
wider  apart,  the  nose  shorter,  and  the 
lips  somewhat  fuller.  See  Fig.  22,  also 
Fig.  24  and  Figs.  20,  94  and  95. 

Professor  C.  II.  Stratz  of  The  Hague, 
Holland,  who  is  one  of  the  greatest  author- 

*  See  "  Happy  All  Day  Through,"  ilhistruled  by  Janel 
Caroline  Hunt  Rimmer. 


ities  on  the  human  body  in  the  world, 
says  a  child  grows  as  follows: 

Fir.'il,  in  breadth  and  height  from  birth 
to  the  end  of  the  fourth  year. 

Scco)td,  in  height  from  the  fourth  to 
the  beginning  of  the  eighth  year. 

Third,  in  breadth  from  the  eighth  to 
the  tenth  year. 

Fourth,  in  height  from  the  tenth  to 
the  fifteenth  year,  when  the  youth  gets 
lanky,  thin  and  angular;  this  is  the  period 
when  the  hands  and  feet  look  too  big. 
Growth  then  continues  to  manhood  or 
womanhood. 

In  drawing  children,  great  care  should  be 
taken  to  keep  their  legs,  at  the  slim  period, 
long  and  slender.  Care  nmst  be  taken  not 
to  make  them  developed,  which  detracts 
from  their  childlike  charm  and  makes 
them  look  vulgar.  In  studying  children, 
look  at  good  illustrations  by  Kate  Greena- 
way,  Jessie  Willcox- Smith,  Elizabeth 
Shippen  Green,  Birch,  and  Helen  Dryden.* 

15.  Heads  and  Faces. — The  general 
shape    of    the   head    is    that   of   an   oval 

Laura  Sfdtl,  and  also  "Figure  Drawing  for  Children"  by 


HEADS  AND  FACES 


Page  Seventeen 


Fig.  23. — Showing  construL-tion  lines  that  help  in  drawing  heads. 

with  the  greatest  width  at  the  top;  ob-  of  the  nose  is  halfway  between  the  eye- 
serve  this,  too,  in  side,  three-quarter  and  brows  and  chin.  See  Fig.  23.  The  eye- 
back  views  of  the  head.  The  eyes  are  brows  are  on  a  level  with  the  top  of  the 
in  the  centre  of  the  head,   and  the  end  ear,   and  the  lower  end  of  the  ear  on  a 


7  Years  10  Years  1 

Fig.  24. — Proportion  of  figure  at  different  ages. 


Page  Eighteen 


DRAWING  WITHOUT  MODELS 


level    with    the    nostrils.     This    forms    a     rubbed  out  except  the  nostrils,  but  they 
never-changing   axis   on   which   the   head     will    appear    more   correctly  placed  than 


O 


^'f^ 


turns  up  and  down. 
Note  how  the  fea- 
tures are  located 
in  these  changes, 
and  how  the  fore- 
shortening is  sim- 
plified by  means  of 
this  method.  In 
drawing  heads  al- 
ways use  the  centre 
and  otherconstruc- 
tion  lines. 

When  the  head 
is  turned  up,  we 
see  more  chin  and 
less  forehead ;  when 
turned  down,  more 
forehead  and  less 
chin.  The  eyes  are 
one  eye  apart,  and 
the  lower  lip  ends 
at  about  half  the  distance 
between  the  nose  and 
chin.  A  triangle  is  heljjful 
in  dividing  the  face  into 
planes,  and  great  care 
should  be  taken  not  to 
ignore  the  cheek,  jaw  and 
chin  bones.  Ob.serve  that 
the  cheek  bones  come 
slightly  below  the  eyes, 
the  jawbone  slightly  below 
the  mouth. 

In  drawing  the  nose  it 
is  helpful  to  think  of  a 
little  round  knob;  from 
which  extend  the  nostrils, 
sketch  in  the  sides,  and 
extend  a  line  suggestive  of 


when  put  in  with- 
out this  foundation 
thought.  See  Fig. 
25. 

In   drawing   the 
mouth,  think  first 
of  a  Cupid's  bow, 
the  string  of  M'hich 
is   broken    in    the 
centre ;    then    sug- 
gest the  lower  lip, 
shade  the  upper 
lip,  which  is  always 
darkest  as  the 
lower  catches   the 
light,   and  you 
have   the  mouth. 
Never  make  a  hard 
line   around    the 
lips,  as  it  destroys 
the  flesh-like  qual- 
See  Fig.  25. 
In  making  the  eye,  al 
ways  hold  the  pupil  in  by 
the  line  of  the  lid.    Block 
in  the  head,  ears,  hands, 
and  everything  before 
putting  in  the  detail. 

Hair  should  be  expressed 
in  waves  of  light  and  dark, 
not  by  single  lines  (unless 
you  are  making  a  deco- 
rative, unrealistic  draw- 
ing). Never  draw  a 
clean-cut  line  between  the 
face  and  forehead,  because 
the  hair  in  many  places 
blends  in  with  the  tone  of 
the   face.     See  Fig.  2(5 


the  planes.    Afterwards  everything  can  be     and  observe  other  drawings  that  show  hair. 


HANDS  AND  FEET 


Page  Nineteen 


16.  Hands  and  Feet. — The   next   step     high,   using  the  Greek  Law  of  arrange- 


should  be  a  careful  study  of  the  hands 
and  feet.  The  drawing  of  these  is  sim- 
pHfied  by  looking  for  the  large  masses 
first  and  blocking  them  in.  See  Figs.  27, 
10,  and  28.  For 
example,  in  draw- 
ing the  hand,  deter- 
mine the  relation  of 
the  length  of  the 
fingers  to  the  palm, 
and  where  the 
thumb  comes  in 
relation  to  the 
fingers.  All  knowl- 
edge gained  by 
study  or  observa- 
tion from  life  wUl 
help  in  drawing  or 
chicing  them.  Van- 
derpoel's  Human 
Figure,  mentioned 
before,  has  some 
splendid  illustra- 
tions of  both  hands 
and  feet  that  the 
student  would  find 
it  helpful  to  study. 
One  good  way  of 
studying  them  is 
to  make  careful 
drawings  from  these  plates,  and  after- 
wards to  try  to  making  your  own  draw- 
ings first  from  life  and  then  from 
imagination.     See  Figs.  28  and  29. 

Shoes  are  extremely  important  in  fashion 
work,  and  should  likewise  receive  the 
careful  attention  of  the  student.  A  good 
way  is  to  group  five  or  seven  pairs  of 
shoes,  including  sport  shoes  and  slippers, 
in  different  positions  on  a  sheet  of  bristol 
board  about  11  inches  wide  by  14  inches 


Pig.  27.— Study  of  hands  by  Albert  Diirer. 


ment.  It  is  well  to  use  real  shoes  and 
slippers  for  models,  but  study  also  well- 
drawn  examples  to  see  how  they  are  usu- 
ally rendered.  Notice  how  the  inside  of 
the  foot  is  straight- 
er  than  the  outside 
line,  which  has 
some  curve.  Ob- 
serve also  low 
much  shorter  the 
line  of  the  inside 
of  the  shoe  is  than 
the  outside  line, 
which  extends 
nearer  the  heel. 
See  Figs.  25  and 
11.  Note  that  the 
inside  ankle  is 
higher  than  the 
outside  ankle. 

It  is  well  to  ob- 
serve what  is  ap- 
propriate and  to 
select  shoes  of 
different  character. 
There  are  shoes  for 
shopping,  for  after- 
noon, for  evening, 
for  travel,  and 
for  sport.  You 
must  select  the  right  shoe  for  the  right 
dress.  The  footwear  must  Ibe  in  keeping 
with  the  costume;  not  afternoon  shoes 
or  evening  slippers  with  a  sport  suit.  It 
is  usually  best  to  have  evening  slippers 
match  the  gown  and  hosiery  unless  you 
use  a  patent  leather  pump. 


In    these    days    we    cannot    make    the 
skirt  cover  up  bad  drawing  of  the  feet 


Page  Twenty 


DRAWING  WITHOUT  MODELS 


;l^jifc. 


/ 


ruui  Naii.if]],,,,-!!,  ■■  lium;m  I'igurc. 


ARMS 


Page  Twenty-one 


Courtesy  of  The  Inland  Priroer, 
Fig.  29. — Construction  of  Arm  from  Vanderpoel's  "  Human  Figure." 


Page  Twenty -two 


DRAWING  WITHOUT  MODELS 


and  shoes.    No  longer  can  it  be  said 
Dame  Fashion  that 

"Her  feet  beneath  her  petticoat 
Like  little  mice  steal  in  and  out. 
As  if  they  fear  the  light." 

17.  The  Human  Form 
Reduced  to  its  Simplest 
Elements. — Relative  propor- 
tions and  helps  to  express 
action  can  perhaps  best  be 
acquired  by  observing  the 
following  facts  in  connection 
with  toothpick 
figures : 

The  t  r  u  n  k, 
thigh,  and  leg  are 
each  about  one- 
third  the  length 
of  the  body  with- 
out the  head  and 
neck,  though  the 
trunk  is  a  trifle 
the  longest.  The 
trunk  is  about 
twice  the  length 
of  the  head  and 
neck.  The  elbow 
reaches  to  about 
the  waist  and  the 
hand  half  way 
down  the  thigh. 

Walking  is  best  de- 
scribed on  paper  wh'-u 
both  feet  are  on  the 
ground,  though  in  reality 
the  greater  part  of  the 
time  the  body  rests  on 
one  foot.     See  Fig.  30. 

Running  is  best  shown 
when  one  foot  is  on  I  lie 
groimd,  though  in  reality  much  of  the  ti 
both  feet  are  off  the  ground.    See  Fig. 


Fig.  32 


Leaping    is    best    shown    in    the    same 
manner   as  running   (limbs  ready  for  the 
next   effort),    but    with    the 
feet   off    the    ground   as    in 
jumping.    See  Fig.  31. 

Jumping  is  best  shown 
with  the  feet  off  the  ground 
but  gathered  together  to 
preserve  poise  and  ready  to 
alight  safely.     See  Fig.  31. 

A   stick   stands    when 
balanced  on  one  end  and  also 
when  supported 
on    eacli   side    as 
shown  in  Fig.  31. 
The  body  may 
be    bent    at    the 
hips  so  as  to  bring 
the  head  over 
either  foot  and 
maintain   an   up- 
right position  un- 
til  the  weight  of 
the  body  is  bent 
beyond    the    line 
of  support,  when 
it  must   come  to 
the  g r o u n d    as 
shown  in  Fig.  32. 
Kneeling    fig- 
ures,    leaning 
back,  make  it  necessary 
that    support    be  given 
behind  as  shown  by  the 
vertical    dotted    line    in 
Fig.  33. 

The    student    should 

notice  that  a  straight  line 

extending  from  the  neck 

to  the  floor  comes   just 

between    the   feet    when    the    weight    is 

evenly  distributed  on  both  legs.     When 


THE  HUMAN  FORM 


Page  Twenty-three 


Figs.  34  and  35.  Figs.  36  and  37. 

Toothpick  construction  applied  to  fashion  drawing. 


the  weight  is  on  one  leg,  the  plumb  line 
begins  at  the  pit  of  the  neck  (viewed  from 
the  front)  and  extends  to  the  ankle  of  the 
supporting  leg.  On  the  other  hand,  when 
the  figure  is  in  action,  the  plumb  line 
from  the  neck  falls  between  the  legs,  pro- 
viding a  proper  balance;  when  this  bal- 
ance is  destroyed,  the  figure  either  has  to 
be  leaning  against  something  or  it  falls  to 
the  ground.  See  Figs.  32  and  33.  After 
studying    these,    it   is  well  to  build    the 


figure  on  these  foundations  to  acquire 
action.     See  Fig.  34. 

In  Fig.  36  is  shown  a  seated  figure; 
the  stool  is  the  principal  part  of  support, 
though  the  foot  is  extended  to  receive  the 
weight  of  the  body.  Fig.  37  is  this  con- 
struction applied. 

Figs.  34,  35,  36  and  37  are  given  as 
illustrations  of  the  use  of  the  toothpick 
construction  in  giving  action  to  the  human 
form. 


From  a  drawing  by  Helen  Dryden,  in  which  {wncll,  wash 
and  ink  were  iisefl,  on  a  rough  texture  paper. 


METHODS 

CHAPTER    THREE 


CHAPTER  THREE 


METHODS 


18.  The  Greek  Law. — In  the  sixteenth 
century,  in  the  days  of  the  Renaissance  in 
Italy,  Leonardo  da  Vinci  with  other  artists 
worked  out,  through  study  of  classic  art, 
an  ideal  proportion  which  is  commonly 
known  as  the  Greek  f„^  < 

Law.  Instead  of 
using  exact  me- 
chanical measure- 
ments, such  as 
the  half,  third, 
fourth,  etc.,  so 
easily  measured 
in  inches  and 
easily  grasped  by 
the  mind,  this  law 

supplies  the  idea  of  a  consistent  variety,  so 
fundamental  in  all  artistic  things,  stimulat- 
ing the  imagination  and  lending  interest  to 
the  object.  Thus,  if  an  oblong  is  divided 
horizontally  in  half,  the  equal  areas  will 
be  found  both  mechanical  and  uninterest- 
ing, see  (a),  Fig.  38.  On  the  other  hand, 
if  the  difference  in  areas  is  great,  as  in 
(5),  Fig.  38,  the  sizes  are  too  incomparable 
to  be  satisfactory.  In  (c).  Fig.  38,  the 
oblong  has  been  divided  into  thirds  and 
then  into  halves,  and  a  point  found  some- 
where between  one-third  and  one-half, 
through  which  to  draw  a  horizontal,  shown 
by  the  heavy  line.  It  will  be  seen  that  the 
relation  of  the  areas  above  and  below  this 
line  to  each  other  are  neither  mechanical 
nor  monotonous,  but  subtle  and  interesting. 

Hem  Muslin  Tucks 


These  same  proportions  may  be  prac- 
tically applied  in  clothing  to  tucks,  hems, 
etc.,  as  illustrated  in  Fig.  39.  Suppose  a 
line  is  drawn  six  inches  long  to  repre- 
sent a  muslin  skirt.     Divide  by  the  Greek 

,) ((,)  Law     to     find 

where   any    trim- 
ming (hem  and 
tucks)    should 
start.     Re-divide 
the    space    given 
up  to  this    trim- 
ming to   obtain 
further  good  pro- 
portions   (of   the 
hem  to  the  tucks) . 
In  Advertising — Its  Principles  and  Prac- 
tices, published  by  The  Ronald  Press  Co., 
the  following  statement  is  made : 

"This  Greek  Law  of  proportion  is  some- 
times crudely  stated  as  the  ratio  of 
5  to  7  to  11.  This  is  somewhere  near 
correct,  and  perhaps  near  enough  to 
work  with.  In  applying  this  ratio  to 
the  margins  of  a  page  it  will  clearly  be 
seen  that  the  widest  margin,  or  11,  should 
appear  at  the  bottom,  the  next  widest, 
or  7,  at  the  top,  and  5,  the  narrowest, 
alike  on  either  side  in  all  vertical  com- 
positions of  space.  In  horizontal  com- 
positions the  widest  margin  should  still 
appear  at  the  bottom,  the  middle  size 
at  the  right  and  the  left,  and  the  nar- 
rowest at  the  top.     This  is  so   that  the 


"^r 


"^ 


1 1 1 1 1  1 — \ 


Page  Twenty-eighit 


METHODS 


the   Greek   Law   of 
margins,    but   also. 


general  form  of  the  display  within  the 
composition  shall  preserve  the  same  ratio 
as  is  found  in  the  enclosing  space  itself. 

"Not  only  should 
areas  be  applied  to 
when  possible  with- 
out interfering  with 
the  meaning  of  the 
copy,  it  should 
apply  to  the  width 
and  strength  of  the 
various  parts  or 
paragraphs  of  the 
copy  within  the 
space.  'When  it  is 
possible  to  do  this, 
the  effect  is  doubly 
pleasing.  There  is 
also  often  a  chance 
to  apply  these  pro- 
portions  to  the 
blank  space  between 
different  parts  of 
the  copy  display. 
When  it  is  possible 
to  do  so,  this  has  an 
added  value.  Not 
enough  attention  is 
paid  to  the  relative  widths  ( 
spaces.  Blank  space  is  often 
than  copy." 

Summarizing    the    above 
to  be  noted  tiiat: 

(1)  Mechanical  divisions  are  in- 
artistic. 

(2)  Sizes  too  unrelated,  sudi  as  a  very 
large  size  and  a  very  small  one,  fail  to 
satisfy,  as  the  mind  does  not  see  any 
relationship  in  things  that  emphasize  each 
other's  difference. 

(3)  Areas  or  sizes  near  enough  alike  to 
be  easily  compared   by   the  eye  and   yet 


Drawn  by  Esther 
40.— Quick  sketch  from 


)f   tl.e: 


l)lank 
Kiueiit 


brieflv. 


different    enough    to   interest   because   of 
their  unlikeness,  satisfy  us. 

(4)  Spaces  are  most  pleasing  together, 
when  one  is  between  one-half  and  two- 
thii-ds  the  length  or  space  of  the  other. 
This  gives  quite  a 
difference  in  size  for 
individual  treat- 
ment, but  avoids  in- 
harmonious lengths 
or  sizes  placed  to- 
gether. In  other 
words,  when  two 
lines  are  in  good 
relation  to  each 
other,  the  shorter 
line  is  between  one- 
half  and  two-thirds 
the  length  of  the 
longer  line. 

The  Greek  law 
may  be  applied  to 
the  margins  of  draw- 
ing papers  as  well 
as  to  folds  and  coat 
lengths.  The  best 
arrangement  of 
margins  for  a  vertical 
hiy-out  is  to  have  the  greatest  width  at 
the  lower  edge,  the  next  at  the  top,  and  the 
snudlest  at  the  sides;  while  for  a  horizontal 
page  the  widest  margin  should  still  appear 
at  the  bottom,  the  second  size  at  the  sides, 
and  the  narrowest  at  the  top.  This  is 
to  preserve  a  like  relation  with  the  en- 
closed sjjace. 

Design  is  selection  and  arrangement, 
and  from  the  start  of  any  work  the  details 
which  make  for  good  design  should  be 
kept  in  mind.  If  it  is  .school  work,  even 
the  nanu"  and  the  lesson  should  form  part 
of  the  plan.     Observe  how   the  enclosing 


Fia.  41. — Co.sfiimc  sketch 
made  from  f|iiiek  skctih. 


LAY-OUTS  AND  REDUCTIONS 


Page  Twenty-nine 


form  determines  the  shape  within.  The 
nearer  one  comes  to  the  structural  edge, 
the  more  nearly  the 
lines  should  conform  to 
it.  Avoid  lines  that  lead 
to  corners,  lines  that 
lead  to  the  centre,  and 
lines  that  tend  to  be- 
come tangents.  The 
lines  of  the  background 
or  setting  should  be 
less  intense  than  those 
forming  the  object 
shown  against  them. 
The  larger  the  area  the 
less  intense  the  color 
should  be;  the  smaller 
the    area   the    more 


the  printed  page  is  given  to  the  artist 
(for  example  eight  inches  high  by  seven 
and  one-quarter  inches 
wide)  and  the  number 
of  figures  to  be  put  in 
that  space  (say  five 
figures).  The  artist's 
work  is  to  compose 
these  figures  in  the 
most  attractive  group 
or  groups. 

The  first  step  is  to 
enlarge  the  dimensions 
to  a  convenient  work- 
ing size.  In  doing  this, 
the  original  proportions 
must  be  kept.  The  en- 
larging is  done  by  means 


.    .  .1  ^  Fig.  42.  —  Enlarging  and   reducing.      Rectangles        p  i  •        i_         j     m 

mtense     the     color    may    leaving  the  same  line  as  a  common  diagonal  are  in     of   a   drawmg  board,  T- 

be.  In  order  to  have  two  proportion.  square,   ruler    and 

or  more  shapes  hold  together  for  unity,     triangle.     A    detailed    statement    of    the 
the  space  between  must  be  less  than  the     process,  using  the  dimensions  just  given 


smallest  of  these  shapes. 
For  illustration,  the 
paths  of  a  garden  should 
be  smaller  than  the  di- 
visions of  the  garden 
shapes. 

19.  Lay-outs  and  Re- 
ductions. —  Lay-out  is 
the  technical  name 
given  to  the  composi- 
tion of  a  catalogue 
page,  and  the  drawing 
of  the  figures  which 
go  on  it.  It  is  also  ap- 
plied to  the  grouping  of 
any  objects  to  be  put 
in  a  certain  given  space, 

whether  for  magazines,  booklets  or  news-     T-square  blade, 
papers.     The    height    and    width    of    the     corner,    measure    seven    and    one-quarter 
space  which  the  lay-out  is  to  occupy  on     inches  to  the  right  and  eight  inches  down 


Fig.  43. — The  rough  lay-out. 


is  as  follows: 

Draw  a  horizontal 
line,  say  two  inches 
from  the  top  of  the 
paper,  straight  across, 
using  the  T-square,  the 
head  of  which  is  held 
against  the  left  edge 
of  the  drawing  board. 
Next  measure  in,  let  us 
say,  two  inches  from  the 
left  side  of  the  paper, 
and  draw  the  vertical 
line  against  the  edge 
of  a  triangle,  the  base 
of  which  rests  against 
the  upper  edge  of  the 
At  the  left-hand  uppei' 


Page  Thirty 


METHODS 


with  the  ruler,  using  the  triangle  to  per-  interesting    effect   is   obtained.     See   Fig. 

fectly  complete  this  little  rectangle;    then  45,   the  original   size  of   which    was    12| 

draw  a  diagonal  and  determine  the  height  inches  wide  by  17|  high, 

desired  for  working  out  the  lay-out  and  Each  line  bounding  the  lay-out  should 

extend    a   horizontal   line   wherever   this  be  touched  by  some  part  of  some  figure. 


horizontal  touches 
the  diagonal,  erect 
a  perpendicular  and 
the  dimensions  of 
the  large  and  small 
rectangles  will  have 
the  same  propor- 
tion. See  Fig.  42. 
Catalogue  pages 
often  go  through 
many  hands  before 
they  come  out  a 
technically  finished 
product,  photo- 
graphically perfect 
but  often  stiff,  in- 
artistic and  unin- 
teresting. There  is 
often  a  special 
artist  who  does 
nothing  but  lay- 
outs, grouping  the 
figures  and  plan- 
ning the  page  as 
in  Fig.  4;5;  another 
who  makes  sketches 
of  the  garments; 
another  who  draws  them  on  the  1 
figures;  another  who  puts  on  th 
washes;  another  who  does  details  such 
as  lace  and  embroidery;  another  who 
finishes  the  heads;  and  still  another  who 
finishes  the  hands  and  feet.  See  Fig.  44; 
the  original  of  this  was  twenty-five  inches 
by  seventeen  and  three-quarter  inches. 
When,  however,  this  work  is  done  through- 
out  by  one  expert   artist,   a  much   more 


Fig.  44.- 


,rk  ..f 

d-oiit 
large 


The  better  the  lay- 
out artist  the  less 
space  will  be  wast- 
ed. It  will  be  found 
advisable  to  give 
the  centre  to  the 
figure  with  the 
darkest  clothes,  as 
this  is  found  most 
agreeable  to  the 
eye,  and  also  sets 
off  the  other  fig- 
ures to  advantage. 
The  law  of  per- 
spective requires 
that,  if  there  are 
smaller  figures, 
these  should  be 
nearer  the  top  of 
the  page.  The 
effect  is  like  a 
staircase;  when  one 
stands  below,  those 
at  the  top  seem 
smaller  than  the 
people  nearer  the 
foot  of  the  stairs. 
For  the  principles  of  general  composition 
which  underlay  all  design,  the  student 
will  find  it  helpful  to  read  Pictorial  Com- 
position, by  Henry  A.  Poor;  Principles 
of  Z)c.s/(7»,  by  Batchelder;  Composition,  by 
Arthur  Dow,  and  Principles  of  Advertising 
Arraiu/nncut  by  Frank  Alvali  Parsons. 

20.  Mechanical  Helps  and  Short  Cuts. 
— Before  taking  up  ink  and  wash  render- 
ing, certain  mechanical  helps  and  short 


Courtcvy  of  John 
Catalogue  drawing.     The  comhinefl 
I  artists. 


MECHANICAL  HELPS 


Page  Thirty-one 


cuts  to  results  and  effects  must  be  con- 
sidered, such  as  Ben  Day  rapid  shading 
mediums,  Ross  Board,  spatter,  air  brush 
and    silver   prints.     Ben  Day   is   a  great 
time-saver,  as  can  be  seen  from  even  the 
few  samples  shown 
in  Fig.  49  of  some 
of  the  complicated 
textiles    and   half- 
tone effects  obtain- 
able in  the  line  cut 
or  ink  drawing. 

When  Ben  Day 
is  desired,  the 
places  where  it  is 
to  be  used  are 
colored  with  a  blue 
pencil  or  blue 
water  -  color  wash 
and  marked  with 
the  number  of  the 
texture  wanted; 
the  engraver  with 
the  Ben  Day 
machine  does  the 
rest.  See  Fig.  49, 
and  the  floor  and 
hat  in  Fig.  77, 
showing  Ben  Day 
stipple.  Notice  the 
difference  between 
these  and  Fig.  50, 
done  by  hand;  observe  particularly  the 
greater  irregularity  of  line.  When  two  or 
more  printings  are  made  the  Ben  Day  can 
be  put  on  in  color,  but  this  necessitates 
two  or  more  plates  according  to  the 
number  of  colors  used.  See  Fig.  97  in 
which  two  plates  were  used. 

Ross  Board  comes  in  a  variety  of  designs. 
The  three  most  used  kinds  are  perhaps 
the  plain  white  with  raised  or  embossed 


f 


lo...  f 


texture,  the  smooth  white  with  black 
texture,  and  the  cross-ruled  blind  with 
black  texture.  A  knife  and  pencil  are  the 
tools  used  to  obtain  effects  with  this 
paper.  See  Fig.  48.  In  the  first,  the 
stipple  effect  is  ob- 
tained by  rubbing 
the  pencil  over  the 
plain  v/hite  and 
the  raised  surface, 
which  in  this  case 
consists  of  dots. 
These  catch  the 
lead  and  a  stipple 
effect  is  the  result. 
In  the  second, 
white  can  be  ob- 
tained by  scraping 
off  the  surface  and 
a  darker  tone  by 
rubbing  a  pencil 
on  the  rough  sur- 
face. Two  effects 
can  be  obtained 
with  the  third; 
with  the  knife,  the 
stipple  surface; 
with  the  pencil, 
the  fine  check. 
Black  can  be  put 
on  with  ink.  This 
makes  possible  an 
even  gradation  from  white  to  dead  black. 
Fig.  48.  Fig.  46  shows  a  finished  Ross 
board  drawing. 

Spatter  ivork  is  done  with  a  toothbrush, 
and  makes  good  flat  tone  effects  for  tex- 
tures, posters  and  backgrounds.  Cover 
the  entire  drawing,  except  the  parts  to 
be  spattered,  with  paper,  cutting  out  these 
to  make  what  is  practically  a  stencil 
(tracing  paper  fastened  down  with  rubber 


\ 


Courtesy  of  John  Wanavmker 

Pig.  45. — Catalogue  drawing,  the  work  of  one  artist  from 
start  to  finisli. 


Page  Thirty-two 


METHODS 


cement  is  convenient).  First,  dip  the 
toothbrush  in  a  saucer  of  ink,  hold  it 
facing  the  paper  and  about  three  feet 
away,  and  draw  the  edge  of  a  penknife 
or  the  handle  of  a  pen  or  brush  over  the 
bristles   toward  '     .  ,  v 

you,  letting  the 
spatter  fly  onto  the 
drawing.  With  a 
little  practice  this 
can  be  done  very 
skillfully.  See  Fig. 
47. 

The  texture  of 
rough  paper  often 
gives  interesting 
effects  in  the  repro- 
duction of  a  draw- 
ing; for  this  rea- 
son craj'on,  pencil, 
charcoal,  and  even 
wash  drawings  are 
sometimes  done  on 
what  is  called  a 
paper  with  a 
tooth,  such  as  a 
charcoal  or  other 
Fig.  45. 

The  air  brii.sh  gives  either  an  even  or  a 
varied  tone,  as  desired,  and  in  the  doing 
of  half-tone  shoes  it  is  found  very  useful. 
It  is  really  an  atomizer  run  by  pressure,  and 
by  its  use  a  great  variety  of  tone  can  be 
obtained.  See  Fig.  55.  As  in  spatter  work, 
the  surface  of  the  paper  to  be  kept  white 
is  covered.  Frisket  paper,  which  is  thin 
and  transparent,  is  used  for  this  purpose 
and  pasted  down  with  rubber  cement. 
When  the  rubber  cement  is  thoroughly  dry 
it  may  be  rubbed  off,  leaving  a  perfectly 
clean  surface.  The  effect  is  photographic 
and  mechanical.    See  Fig.  54. 


Fio.  46. — Drawing  on  Ross 
l.iKl.  1..V  7" 

rcugh     paper.      See 


The  silver  print  method  is  often  used 
for  making  line  cuts  or  pen  drawings  of 
shoes.  For  this  purpose  a  silver  print 
photograph  is  made  in  a  size  convenient 
to  work  over  on  Clemmon's  plain  salted 
"^  ^1         paper  and  mounted 

on  cardboard  to  get 
a  smooth  surface 
for  drawing.  Out- 
lines are  then  care- 
fully 1  raced  with 
the  usual  drawing 
pens  and  India-ink, 
doing  deep  shadows 
first  and  gradually 
working  up  to  the 
high  lights.  When 
finished,  the  silver 
or  photograph 
color  is  bleached 
away  by  pouring 
over  it  a  saturated 
solution  of  bichlo- 
ride of  mercury. 
This  leaves  the 
pen  lines  clean  and 
sharp  upon  a  perfectly  white  sheet  of 
paper.  When  dry,  the  result  should  be 
compared  with  the  original  photograph 
and  touched  up  where  necessarj'.  See 
Fig.  52. 

21.  Tracing. — Tracing  is  often  found 
n(>cessary  and  is  a  time-saver  in  doing 
repeats,  etc.  Graphite  paper  gives  a 
better  line  in  transferring  than  carbon 
paper. 

The  pencil  should  be  kept  very  sharp 
when  tracing  and  a  hard  pencil  is  good 
for  doing  the  transferring  through  the 
carbon.  Ruled  squares  are  useful  to  put 
under  thin  paper  in  doing  some  kinds  of 
designs. 


Courtesy  uf  ijui 
Hoard,  reduceil  froi 
wide  original. 


TRACING 


Page  Thirty-three 


No   329— 9!4xl4>^  ^°    330—9/1x14^  No    33' — 9'')  J^  I4'<t  No    33-:  — 9^i  x  14^^ 


313  -9  4  X  144  No   334 -9'A  X  1454  No.  335.-954  x  14'A.  No.  336-9J4  x  WA-  No.  338.-6%  X I 

Fig.  49. — Some  samples  of  Ben  Day. 


Page  Thirty-four 


METHODS 


Stipple,  which  takes  a 
long  time,  is  done  by  dots 
made  with  the  point  of  a 
pen.  When  a  flat  tone 
effect  is  desired,  it  is  often 
produced  by  sets  of 
circles  running  into  each 
other.  See  Fig.  51.  If 
large  dots  are  required,  it 
will  be  found  convenient 
to  use  a  ball-pointed  pen. 
Artistic  and  interesting 
effects  can  be  obtained  in 
this  manner.     See  Fig.  50. 

22.  Silhouette.— In  do- 
ing silhouette's  the  follow- 
ing statement  made  by 
Miss  Harriet  Lord, 
the  silhouette  portrait 
artist  some  time  ago 
in  the  Tribune,  is 
helpful  commercially, 
and  her  permission 
has  been  secured  to 
quote  it: 

"Perhaps  no  one 
has  d  e  m  o  n  s  t  r  a  t  e  d 
more  clearly  than 
Miss  Lord  the  im- 
portance of  the  pose 


Detail  of  stipple. 


of  a  head,  how  much  ac- 
tion, what  varying  humor, 
may  be  found  in  the  way 
in  which  a  head  is  perched 
on  a  person's  shoulders. 
A  little  boy  whom  she  has 
portrayed.  Fig.  57,  holds 
his  neck  perfectly  rigid 
with  head  raised  in  the 
back  and  lowered  in  front. 
One  can  feel  the  restrained 
life  in  the  little  chap,  the 
unusual  quality  of  his 
attentive  attitude  fostered 
by  some  engrossing  in- 
terest outside. 

"There  are  ever  so 
many  things  to  re- 
member in  making 
silhouettes.  Certain 
])ersons  cannot  be 
j)irtm'ed  in  this  posi- 
tion, for  in  many 
persons  profile  means 
ittle;  it  is  the  eyes 
or  something  in  the 
drawing  of  the  full 
face  that  is  indicative 
of  the  true  personality. 
Many  faces  are  im- 


SILHOUETTE 


Page  Thirty-five 


mobile  and  one  must  look  to  their  eyes 
for  character.  They  cannot  be  well  sil- 
houetted. Little  points  must  be  re- 
membered such 
as  in  this  little 
girl,  Fig.  58.  You 
see  her  hair  is 
down  her  back, 
but  I  have  allow- 
ed a  spot  of  light 
to  shine  through 
to  give  the  out- 
line in  suggestion 
of  her  neck.  Not 
to  have  done  this 
would  have  made 
an  awkward  line 
and,  more  impor- 
tant, a  line  that 
was  not  satisfac- 
tory, for  it  al- 
most hinted  at  a 
falseness  or  ap- 
parent abnormal- 
ity. The  chair 
on  which  a  person  is  seated  must  be 
examined,  for  it  must  not  melt  into  the 
person's  figure  with  puzzling  results. 
And   it   is   well   to   break  in   with   lights, 


for   they   add   character 
drawing. 

"And  then,  too, 


and   life   to   the 


explained  Miss  Lord, 
"one  is  startled 
to  find  how  much 
each  line  and 
curve  of  the  face 
means.  Nothing 
is  ignored  and  a 
slightly  upturned 
lip  may  be  the 
touch  that  gives 
an  unmistakable 
note  of  character- 
ization to  the 
cutting  or  inking." 
The  silhouette 
is  a  very  quick 
method  of  gaining 
an  effect,  being 
merely  an  outline 
sketch,  usually 
profile,  filled  in 
with  black  ink. 
See  Figs.  57  and 
58.  White  is  sometimes  successfully  added 
as  in  Fig.  56. 

Half-tone    figures    are    said    to    be    sil- 
houetted when  the  white  paper  appears 


300S69 
Courtesy  of  John 
Fig.  53. — Catalogue  page. 


Courtct,y  of  J  J  Slater. 
Fig   61  — Shoes  shaded  with  air  brush. 


Fig.  55. — Effect  produced  by  use  of  an  air  brush. 


Page  Thirty-six 


METHODS 


as  the  background.  A  silhouette  is  a  design 
sharply  defined;  the  clear  outlines  of  the 
drawing  coming  directly  against  the  paper 
on  which  it  is  re- 
produced. Fig.  69. 
A  vignette  is  a  sil- 
houette having  at 
the  base  or  behind 
the  figure,  or  in 
some  part  of  the 
design  of  the  figure, 
a  wash  that  disap- 
pears in  a  vague 
shadowy  effect.  This 
wash  is  reproduced 
only  in  tone  and  has 
no  definite  line 
marking  its  edges,  which  end  in  an  indefi- 
nite vagueness  (such  as  the  veil  ends) 
and  the  shadow  background.  See  Fig.  63. 
23.  Construction  of  the  Circle.— It  is 
^^^^  understood  that  a  circle 

^^^^^  made  with  a  compass, 

^^^^V  and  an  ink  circle  usually 

^^^^P  with         ruling    ])en.     In 

^^^L    ^sj)eaking    of    i)ens, 
^^H^^^^ might    say    here 
^^^^^^m       there  are  many  kinds  of 
^^^^^^B        lettering  pens, 
^^^^^^^v         be  foutul 
^^^^^^H  work   is 

^^^^^^H         quired.     Good  books  on 
^^^^^^V         lettering  are:  Writing  and 
^^^^^^V  llhan  inaling  and  Lettering, 

^^^^^  by  Edward  Johnston,  and 

^m  the  booklet  called  Book  of 

■  Alphabets,  l)y  H.W.  Shay- 

^M  lor.  There  are  other  good 

^^^^  books  on  this  subject  by 
1^^^  Lewis  F.  Day  and  Frank 
Chauteau  Brown. 

24.  Constructing  an 


Fig.  50. — Black  and  white  silhouette  used  by  the  Pulton 
Theatre  to  advertise  "The  Misleading  Lady." 


Ellipse. — With  a  compass  measure  from 
A  to  B,  Fig.  59,  then  put  the  compass 
at  C  and  strike  a  circle  as  indicated  by 
the  dotted  line  from 
D  to  E.  Where  the 
circle  intersects  the 
horizontal  line  at  D 
and  E,  place  pins. 
See  Fig.  60.  Also 
at  the  point  C 
stretch  a  thread 
from  E  to  D  around 
C,  and  tie  at  C. 
Remove  the  pin  at 
C,  and,  holding  the 
pencil  perpendic- 
ularly, describe 
ellipse  shown,   see  Fig.   CO. 

Collections.* — Sieipe   collec- 
connnercial    and    expressive 


CouTlfsu  oIN.  Y.  Tribune. 

Fig.  57.— SilhoueUe 
by  Harriet  Lord. 


the 

25.  Swipe 
tions  is  the 
term  for  what  most  artists  call  documents, 
and  this  is  one  of  the  most  important 
items  under  the  list  of  nuiterials.  It  con- 
sists of  examples  clijjpcd  from  all  sources — 
catalogues,  booklets,  maga- 
zines and  newspapers — 
illustrating  different  tech- 
nique and  the  expression  of 
numerous  textures,  plaids, 
stripes,  vel- 
vets a  n  d 
detail  of  ; 
kinds.  Till 
are  not  to 
be  used  as 
copies,  but 
as  a  teacher, 
showing  ways 
that  have 
been  used 
with  success. 

Counesu  of  N .  Y .  TrVmnc. 
Copying    IS     Fig.  5S.— Silhouette  by  Harriet  Lord. 


*  In  classifying  documents  for  reference  in  boxes  or  envelopes,  these  headings  will  be  useful:  Men,  Women,  Children, 
Animals,  Flowers  and  Fruit,  Outdoor  Scenes,  Furniture  and  Interiors,  Decorative  Subjects  and  Page  Decorations,  Color 
Plates  and  Booklets. 


TEXTURES 


Page  Thirty-seven 


one  way  of  studying,  but  is  advisable 
only  when  done  with  intelligence.  See 
illustration  of  a  "swipe,"  Figs.  61  and 
62,  63  and  64,  showing  a  case  in  which  one 
drawing  suggests  the  pose  foi-  another. 

26.  Textures. — 
In  illustrating 
black  material  in 
pen  and  ink,  con- 
sideration must  be 
given  to  whether 
it  is  a  shiny  tex- 
ture with  many 
high  lights,  or  a 
dull  black  silk  or 
velvet,  with  little 
or  no  shimmer. 
The  supporting 
points  usually 
catch  the  light, 
and  it  is  here  that 
the  whites  are  left 
or  put  in.  The 
trimming  has  to 
be  kept  light,  to 
show  the  detail. 
See  Figs.  65  and 
66. 

Stripes  and 
plaids  are  both 
done  in  a  manner 
to  give  the  best 
expression  pos- 
sible to  the  special 
design  to  be  re- 
presented. Complicated  designs  often  have 
to  be  greatly  simplified  for  reduction, 
and  care  must  be  taken  to  give  the  gen- 
eral effect  in  the  most  telling  way.  See 
Fig.  67.  Shepherd  plaid,  when  carefully 
done,  is  often  made  by  drawing  small 
cross    stripes    in    pencil,    and    filling    in 


Fig.  60. — Constructing  an  ellipse. 


alternate  square  spaces  with  black.     See 

Figs.  67,  68  and  93. 

Dotted   and   flowered   materials   should 

not  be  expressed  in  a  helter-skelter  manner, 

but,  for  satisfactory  results,  should  be 
thought  out  in 
an  orderly  way, 
using  imaginary 
squares  or  dia- 
monds for  a  foun- 
dation. See  Figs. 
7, 8,  68, 69  and  83. 
Chiffons  must 
keep  their  trans- 
parent quality, 
usually  expressed 
by  a  delicate  line. 
Chinese  white, 
when  used  dis- 
creetly, is  often 
helpful  for  this 
purpose. 

Laces  and  em- 
broideries  are 
carried  out  either 
in  detail  or  in 
sketchy  way,  ac- 
cording to  require- 
ments. When  the 
drawing  is  needed 
to  advertise  a 
particular  lace, 
greater  detail 
must  be  given 
than  when  ad- 


vertising the  pattern  of  a  dress  in  which 
any  kind  of  lace  can  be  used.  See  Fig.  72. 
When  the  lace  is  to  be  done  for  repro- 
duction in  half-tone — in  other  words,  when 
in  wash  drawing — in  an  elaborately  worked 
out  way,  i.e.,  catalogue  wash,  a  dark 
background  is  made  (for  white  lace)  and 


Page  Thirty-eight 


METHODS 


the  lace  is  worked  out  in  Chinese  whit 
over  this  dark  ground.     See  Fig.  (18. 

Wash  work  embroidery 
is  also  done  ■n'ith  Chinese 
white,  but  the  background 
differs  in  tone  according  to 
the  sheerness,  while  the 
solidity  of  the  pattern  is 
indicated  by  heavier  lines 
on  the  shadow  side.  For- 
tunately, even  in  catalogues 
of  the  better  character, 
more  is  being  left  to  the 
imagination,  giving  a  much 
less  stilted  effect. 

Side  plaits,  box  plaits, 
tucks,  gathers,  etc.,  are  a 
drawn  the  way  they  really 
look  in  realistic  drawings. 
See  Fig.  7  for  decorative 
treatment.  Thej'  are  also 
made  simpler,  see  Figs.  70 
and  71. 

Stitching  is  expressed  by 
a  straight  line  or  a  line  of 
dots,  though  there  are  sev- 
eral   different    ways    of 
making  them.     See 
Fig.  7. 

Fur  is  done  in  masses 
of  lustrous  dark  and 
light  with  a  soft  irreg- 
ular edge,  avoiding  too 
"liney"  an  effect.  The 
treatment,  in  fact,  is 
much  the  same  as  for 
feathers  and  human 
hair.  See  Figs.  26,  74, 
and  75.  In  decorative 
drawings  many  different  ways 
rendering  are  used,  sometiuu's  a  liii 
sometimes  dots,    and    sometimes    a    coi 


CourUty  ofGlmbrl  Bros 
■i. — The  adaptation. 


the    two    being    used.    See 

To  express  textures  well, 
the  student  should  cultivate 
a  love  and  appreciation  for 
them.  It  is  good  to  handle 
them,  study  them,  and  ob- 
serve them  at  home,  in 
shops,  in  the  street,  at 
plays,  in  museums  and  in 
pictures,  noticing  the 
weight  they  have,  the  folds 
they  make  and  the  lines 
they  take.  Still-life  studies 
of  them  are  helpful. 

Very  interesting  for  the 
study  of  draperj^  are  the 
drawings  of  Albrccht  Diircr. 
See  Fig.  100.  Observe  the 
supporting  points.  Of 
course  there  are  many  dif- 
ferent methods  of  treatment 
as,  for  example,  the  way 
one  would  treat  a  decora- 
tive drawing  as  opposed  to 
how  one  would  treat  a  real- 
istic one.  Sec  Figs.  70, 
J        71,  and  72. 

27.  Pen  and  Ink.— 
Pen  and  ink  is  a  very 
interesting  and  much 
used  medium  in  fashion 
work.  It  may  be  di- 
vided into  several 
headings  as,  work  for 
newspapers,  for  maga- 
zines, and  for  catalogues. 
And  these  again  may  be 
subdivided  into  groups, 
there  is  the  pen-and-iiil: 
ncirs-paper  proper  style.  This  is  paid  for 
by  the  newspaper  and  is  often  done  in  a 


)  t'     For    instance, 


PEN  AND  INK 


Page  Thirty-nine 


broad,  bold  way  with  no  particular  at- 
tention given  to  seams  or  texture. 
This  is  also  known  as  editorial,  be- 
cause under  charge  of  fashion  editors. 
See  Fig.  73. 

There  is  netospaper  pattern  draiving. 
This  is  paid  for  by  the  pattern  com- 
pany, and  here  more  attention  is  given 
to  seams,  tucks,  darts,  and  the  like  than 
to  texture.     See  Fig.  76. 

Again  there  is  department  store  adver- 
tising.    This   is    paid    for    by    the   de- 


CouHcsy  of  N.  Y.  Globe. 
Fig.  63.— The  original— An  example  of  vignette. 


Courtesy  of  Gimbel  Bros. 
Fig.  64.— The  adaptation. 

partment  store,  and  here  seams 
are  ignored  and  attention  concen- 
trated on  texture,  and  expression 
of  the  style.  See  Fig.  77.  This  is 
sometimes  done  in  a  more  general 
illustrative  way,  as  in  headings, 
or  for  a  service,  when  the  same 
illustrations  are  used  in  stores 
throughout  the  country;  then  the 
idea  is  expressed  in  an  abstract 
way.     See  Fig.  78. 

A  good  deal  of  space  is  often 
devoted  to  the  newspaper's  own 
drawing,  while  the  pattern  drawing 
is  usually  given  a  column  or  two, 
and  there  is  not  quite  so  much 
stress  laid  on  the  filling  of  space  in 
either  of  these  cases  as  in  the  de- 
partment store  work.  See  Figs.  73 
and  77.  Ben  Day  often,  and  wash 
sometimes,  are  combined  with  news- 
paper pen  and  ink. 

Magazines  have  the  same  three 


Page  Forty 

classes  of  pen-and-ink  drawings  and  the 
same  principles  hold  true.  See  Figs.  70,  71, 
79,  and  83.  The 
magazines,  how- 
ever, are  printed 
on  superior  paper 
and  with  lietter  ink, 
so  that  charming 
efFects  with  deli- 
cate  washes, 
which  woidd  l)e 
entirely  lost  in 
newspaper  re- 
production, can 
be  obtained.  See 
Fig.  81.  Ben 
Day  is  used  wilii 
great  success  in 
magazines.  See 
Figs.  79  and  97. 

In  the  best 
pen-  and  -in  k 
work  for  cata- 
logues and  ad- 
Acrtising,  care  is 
taken,  not  only 
to  .suggest  text- 
ure and  detail, 
but  to  express 
1  lie  general  char- 
Mclerist'cs  of  the 
garment  and  its 
special  charm. 
A  good  example 
isgiveninFig.72, 
which  was  used 
forcatalogueand 
also  magazine 
advertising. 

Pen-and-ink  work  I'or  pattern  catalogues 
is  usually  done  in  a  stitfer  waj'  than  that 
done  for  magazines  and  newspapers.     This 


tiriKi 


METHODS 

is  because,  in  the  great  care  used  to  show 
every  seam  and  detail,  much  of  spontaneity 
is  often  lost;  nev- 
ertheless great 
improvement  in 
this  matter  has 
been  made  of  late 
by  a  number  of 
the  pattern 
houses,  as  is 
shown  in  the 
careful  little 
drawing  of  un- 
d  e  r  w  e  a  r ,  Fig. 
8'-2,  but  which 
still  seems  very 
stereotype  in 
comparison  to 
Fig.  97. 

Decorative, 
or  more  or  less 
unrealistic  tcch- 
ni<|ue,  has  been 
used  nmch  more 
of  late  in  both 
newspaper  and 
magazine  edito- 
rials and  adver- 
tising work,  but 
it  is  not  often 
used  in  pattern 
drawing,  b  e- 
cause  of  the  ex- 
actness usually 
required  for  this 
type  of  work. 
This  decora- 
tive  work,  while 
so  simple  and 
[)ermit  ting  of  a  certain  uniqueness, 
requires  even  a  greater  knowledge  of 
drawing    to    do   it  successfully    than    the 


linn  sliiiiy 


PEN  AND  INK 


Page  Forty-one 


-^l 


l\\ 


Courtisy  of-  Stern  Bros. 
Fig.  G7. — La>-out  illustrating  methods  of  rendering,  stripes,  plaids,  checks,  etc. 


Page  Forty-two 


ISIETHODS 


naturalistic  work, 
where  mistakes 
are  sometimes 
hidden. 

In  this  decora- 
tive work  beauty 
of  Hne  and  in- 
teresting spotting 
is  given  great 
consideration. 
The  eiTect  is  ob- 
tained by  the 
fewest  lines  pos- 
sible, and  very 
interesting  work 
of  this  type  can 
be  found  in  pcii- 
and-iiik,wash  and 
color.  This  style 
of  work  was  fir.sL 
made  popular  by 
Aubrey  Beardslcy, 
see  Fig.  85,  and 
the  student  would 
find  it  profitable 
to  -sec  his  illustra- 
tions of  SirTlioinas 
Mallory's  Moric 
iV Arthur,  Bruiicl- 
leschi's  illuslr.i- 
tions  of  La  Xml 
Venetiennc,  and 
Les  Masques  et  les 
Personnages  de  la 
Comidic  Italicnnc, 
andKayNeilson's 
illustrations  of 
Powder  and  Crin- 
oline. *  The  draw- 
ings of  George 
Barbier  (some  of 
which    can    be 


•  •  •  • 
r»*a  •  •  • 


!•    •   •  • 

I  •  •  •  • 


••■••••••• 

■••••••••a 


0 

■:;:.;•   t  I   i 

-fi   ^    ^i*   'y 

^ 


Fio.  G8. — Catalogue  detail  done  by  Samuel  Cohen. 


Also  "  East  of  the  Sun  and  West  of  the  Moon,"  antl  Fairy  Talcs  by  Hans  .\ndersen  illus' 


seen  in  Album 
Dcdie  a  Tamar 
Karsavia),  Le- 
pape  and  Erte, 
all  show  the  in- 
fluence of  Aubrey 
Beardsley  and 
should  be  studied 
by  the  fashion 
artist.  See  Figs. 
70  and  71. 

Headings  and 
page  decorations 
are  often  required 
by  the  department 
store  fashion  art- 
ist, see  Fig.  8-1, 
and  here  is  the 
place  where  good 
i  tie  as  are  at  a 
premium.  For 
this  reason,  other 
people's  ideas 
should  be  con- 
sulted, studied 
and  weighed,  and 
something  plaus- 
il)le  and  catchy 
worked  up.  The 
same  thing  holds 
hue  of  feature 
cuts  or,  in  other 
words,  white 
sales,  silk  sales, 
toys,  etc.,  and 
these  do  not  want 
to  be  omitted 
from  the  swipe 
collection — not 
that  you  are 
going  to  copy 
trated  by  Harry  Clarke. 


INDIVIDUALITY 


Page  Forty-three 


them,  but  that  they  may  give  you  an  in- 
spiration. 

In  doing  pen  and  ink  the  beginner  will 
find  Gillott's  170 
pen  or  Gillott's  303 
pen  most  useful. 
Because  of  their 
firmness,  it  is  easier 
at  first  to  gauge 
your  line.  After- 
wards the  Gillott's 
290  and  291  pens 
will  be  found  very 
agreeable  to  work 
with  because  of 
their  elasticity. 
Higgins'  waterproof 
ink  is  useful  where 
wash  is  to  be  com- 
bined with  the  pen 
and  ink,  but  many 
people,  for  general 
use,  prefer  Higgins' 
non-waterproof  and 
French  black  ink. 
Use  two-  or  three- 
ply  Bristol,  plate 
(or  smooth)  finish 
if  for  ink  alone,  kid 
finish  if  washes  are 
to  be  added.  Very 
good  efi^ects  can  be 
obtained  with  ink 
and  a  brush,  see 
Figs.  73  and  86. 

A  large  drawing 
board  placed  at  the 
right  angle  against 
a  table  will  give  better  results  than  the 
board  flat  on  the  table.  Usually  speaking, 
it  is  best  to  work  from  the  top  down 
and  from  left  to  right,  but  when  a  long. 


Draim  by  Reta  Senger.  Courtesy  of  Good  Housekeeping  Magai 

Fig.  69. — A  silhouetted  half-tone  drawing. 


straight,  even  line  is  desired,  satisfactory 
results  will  be  obtained  by  keeping  the 
right  arm,  from  the  elbow,  resting  on  the 
board  and  drawing 
away  from  you.  Do 
not  get  your  lines 
too  close  together. 
Observe  the  differ- 
ence between  a  dry, 
harsh  line  and  one 
full  of  variations 
of  color.  Practice 
beginning  a  line 
dark  and  ending 
light  and  vice  versa. 
Make  your  line  ex- 
press the  soft  deli- 
cacy of  skin  (see 
Fig.  65),  the  light- 
ness of  chiifon  or 
the'  heaviness  of 
A^elvet.  Make  e^^ery 
line  you  put  down 
tell  or  mean  some- 
thing; this  requires 
study  and  applica- 
tion. Compare  Fig. 
82  showing  a  hard 
line  with  Figs.  20, 
22,  70,  71  and  97, 
showing  a  beautiful 
one,  and  be  able  to 
tell  the  difference 
and  why. 

It  is  understood 
that  a  pencil  sketch 
is  made  first  and 
that  the  ink  is  put 
in  afterwards.  Reproductions  in  pen  and 
ink  are  called  line  cuts. 

28.  Individuality. — There  are  great  dif- 
ferences    in     the    make-up    of    different 


Page  Forty-four 


METHODS 


people.  Some  of  us  seem  born  with  a 
strong  mechanical  bias  and  others  with 
a  delicate  sensitiveness.  In  the  one  case 
we  will  tend  to  draw  strong  and  precise 


We  cannot  declare  either  of  these  manners 
good  or  bad  to  the  exclusion  of  the  other, 
for  each  of  them,  and  all  the  gradations 
between,  have  their  purpose.     The  great 


Fig.  70, 


'pttu  of  ffarper's  Bazar. 


e  niugazinc  editorial  drawing — showing  influence  of  .\iibrc.v  Beardsley. 


lines,  in  the  other  to  draw  lines  that  are 
light  and  subtle  though  by  no  means  to 
be  confused  with  the  weak  and  broken 
lines  of  inexperience.  The  distinction  is 
one  that  will  be  noted  not  only  in  our 
modern  art,  but  also  in  old  Japanese  prints. 


thing  is  to  find  out  the  method  that  is 
most  natural  to  you  and  improve  that 
to  the  utmost.  Do  not  be  discouraged 
if  your  forte  is  the  delicate,  sketchy  line 
and  if  you  do  not  succeed  with  the  pre- 
cise mechanical  one.     Find  the  place  that 


INDIVIDUALITY 


Page  Fortj^-five 


is  waiting  for  you  where  your  particular 
manner  is  needed. 

Too  often  those  in  charge  of  art  de- 
partments do  not  appreciate  any  kind  of 
work  except  that  which  they  happen  to 
use.  Do  not  let  them  discourage  you, 
but  remember  the  words  of  Carlyle, 
"The  block  of  granite   which   is   an   ob- 


Problem. — On  a  one-quarter  size  sheet 
of  bristol  board,  held  vertically,  plan  mar- 
gins according  to  the  Greek  proportions. 
Divide  the  space  within  the  margins  into 
four  equal  parts.  In  the  upper  left-hand 
corner  draw  lightly,  with  a  compass,  a 
well-related  circle;  in  the  upper  right- 
hand   corner   draw   lightly,   free   hand,    a 


-Magazine  editorial  decorative  fashion  drawings  designed  by  Erte. 


CuuTtusy  of  Harper  s  Bazar. 


stacle  in  the  pathway  of  the  weak  be- 
comes a  stepping-stone  in  the  pathway  of 
the  strong." 

One  way  to  cultivate  the  proper  ap- 
preciation of  beautiful  lines  is  to  begin 
by  drawing  the  simplest  kind  of  forms. 
This  is  certainly  advantageous  in  the  case 
of  children,  and  a  teacher  of  such  a  class 
would  no  doubt  find  it  useful  to  give  out 
such  a  lesson  as  this: 


well-related  oval;  in  the  lower  left  hand 
corner  another  well-related  oval;  in  the 
lower  right-hand  corner  a  well-related 
ellipse.  Then,  with  a  very  sharp  pencil, 
go  over  these  lightly  blocked  in  figures 
with  as  beautiful  lines  as  possible.  This 
problem  can  then  be  repeated  with  the 
idea  of  filling  in  these  spaces  with  con- 
ventionalized designs  to  be  used  for  belt 
buckles  or  other  ornaments. 


Page  Fort3'-six 


METHODS 


>'  "} 


i'     ,''^-> 


^ 


Ciiurti.^il  u/  Ell-tworll, 

I'ic.  7^. — Pen  ami    iiik  catalogue  <lrawinB  «li 

w:is  alsu  usett  for  a  mcgaziiie  advertisement. 


ICourtcsy  0/  Brootlyn  Eagle. 
I'lu.  73. — Illustrafing  newspaper  editorial  in  which  pen  and  ink 
fashion  work  is  <onibiiie(l  with  brush  work. 


WASH 


Page  Forty-seven 


The  power  to  make  beautiful  lines  must  first 
be  obtained  with  the  pencil,  before  the  same 
result  can  be  attained  with  ink.  It  is  well  to 
have  the  student  really  know  what  a  good  line 
is  before  beginning  a  problem  of  this  kind. 
For  this  purpose  have  examples  of  different 
kinds  of  good  and  interesting  lines,  such  as 
Japanese  prints,  some  reproductions  of  good 
line  drawings  by  McQuin,  Erte,  Dryden,  Drian, 
etc.  Too  much  must  not  be  taken  for  granted 
about  students  or  beginners  knowing  just  what 
a  good  or  beautiful  line  is,  otherwise  the  mis- 
takes of  trying  to  get  a  hard,  inexpressive, 
mechanical  line  is  often  the  result.  For  that 
reason  it  is   well   to  have  drawings  made  in  a 


Coiincsy  of  , 
talogue  page. 


Coiirti!,!/  of  Gimiel  Bros. 
Fig.  75. — Realistic  treatment  of  feathers. 

tight,  mechanical  way  to  compare 
with  those  done  with  more  feeling. 
Each  student  should  start  making 
a  collection  of  line  drawings  with 
this  comparison  idea  in  view. 

29.  Wash. — Wash  is  a  very  use- 
ful medium  for  fashion  work,  espe- 
cially where  photographic  effects  are 
desired,  as,  for  instance,  in  cata- 
logues. In  newspapers  it  is  not  so 
often  used  as  in  magazines  and  cata- 
logues, because  the  poorer  paper  on 
which  the  newspapers  are  printed  does 
not  tend  to  successful  reproduction. 

For  magazines,  just  as  there  are 
different  ways  of  using  pen  and  ink, 
so  there  are  three  kinds  of  wash ;  the 
editorial,  the  'pattern,  and  the  adver- 


Page  Forty-eight 


METHODS 


tising.  These  agam  can  be  divided  into 
different  styles  of  work,  as  the  realistic,  the 
sketchy,  and  the  decorative.  Still  again,  there 
is  pure  wash  and  there  is  wash  combined 
with  pen  and  ink  or  crayon. 

In  the  editorial 
type  most  attention 
is  given  to  the  at- 
tractiveness of  the 
picture.  See  Fig.  89, 
done  in  a  decorative 
way,  and  Fig.  90, 
done  in  a  more  re- 
alistic style. 

In  the  pattern 
type  most  attention 
is  given  to  the  seams 
and  the  way  the 
garments  are  made, 
and  less  to  the  ex- 
press ion  of  any 
particular  kind  of 
material;  in  other 
words,  the  textural 
and  artistic  sides 
are  subordinated  to 
the  practical  pattern. 
Thisisdoneina 
realistic  way.  See 
Fig.  91. 

In  wash  for  adver- 
tising, attention  is 
concentrated  on 

presenting    the  "'^'^^ 

garnioct  to  the  best  „      .,.     .. 

advantage,  bringing 

out  its  best  features  and  its  textures.  This 
is  done  in  a  freer,  more  artistic  manner, 
but  often  is  done  in  a  decorative  way 
except  in  caialogucs.  The  wa.sh  is  com- 
bined with  pen  and  ink,  as  in  Fig.  92. 
Yet  sometimes  it  is  very  much  finished 


and  approaches  catalogue  work  in  effect; 
in  fact,  sometimes  the  same  drawing 
which  has  been  used  in  a  catalogue  is 
also  used  to  advertise  in  the  magazines. 
See  Fig.  81. 

Wash  for  cata- 
logues is  usually  very 
much  finished  and 
often  done  without 
much  addition  of  pen 
and  ink.  See  Fig.  53. 
These  drawings  are 
made  with  the  in- 
tent ion  of  advertising 
the  garments  illus- 
trated, and  for  that 
reason  great  stress 
is  laid  on  the  mate- 
rials and  details. 
Sometimes  wash, 
pencil, crayonpencil, 
and  pen  and  ink  are 
all  combined  in  a 
drawing;  for  this, 
careful  reproduction 
is  required.  See 
Fig.  104. 

The  materials 
used  for  wash  are 
usuallj'  Steinbach  or 
Curtis  Board  (Illus- 
tration Board),  but 
for  magazine  wash, 
kid  bristol  and  some- 
times even  smooth 
bristol  ( when  only  a 
light  flat  wash  is  desired)  are  u.sed.  You 
will  find  it  good  to  have  Winsor  and 
Newton's  Lampblack  and  four  brushes. 
Numbers  3  and  4  and  6  and  7  are  suitable. 
You  should  also  have  a  blotter,  .some  rags, 
u  sponge  for  washing  off  all  the  color  if  a 


7914' 
CouTt^sv  of  Home  Pnttcrn  Co. 
per  pattern  fashions. 


WASH 


Page  Forty-nine 


how  the  small  folds  often  end  in  a  little 
hook. 

Practice  putting  darks  in  with  one 
brush  and  blending  then  off  with  another. 
Get  so  you  know  just  how  much  water 
you  want  on  your  brush  to  get  certain 
effects.  Always  mix  enough  of  the  color 
which  you  intend  to  use  as  the  large  wash, 
and  dip  your  brush  into  that  instead  of  into 
the  water  and  back  into  your  paint,  this 
to  avoid  giving  your  wash  a  streaked  look. 
The  Eberhard  Faber  green  or  red  eraser  is 
a  great  help  to  pick  out  lights.  Often  a 
wash,  when  nearly  finished,  has  a  very 
discouraging  appearance,  and  sometimes 
all  it  really  needs  is  the  intensifying  of  the 
blacks  and  some  touching  up  of  the  edges, 
buttons  and  the  like,  with  Chinese  white. 


Fig.  77. — Department  st 


mistake  is  made,  and  a  large  white  saucer 
for  mixing  black. 

Most  satisfactory  results  are  obtained 
by  having  your  figure  and  garment  very 
carefully  drawn  first,  then  putting  in 
your  darks  or  shadows  and  after  these 
darks  are  absolutely  dry,  your  large 
washes.  Give  very  careful  study  to  the 
texture  and  the  folds. 

It  is  well,  when  beginning,  to  get  very 
good  drawings  showing  examples  of  the 
materials  you  are  endeavoring  to  express. 
Observe  how  each  material  is  affected  by 
light  and  how  the  light  looks  on  the 
folds.  See,  for  example,  how  in  shiny 
black  silk  the  dark  side  blends  into  the 
shadow,  while  on  the  light  side  there  is 
a  crispness  and  unblended  look;   also  note 


Courtesy  of  Dry  Goods  1 
-A  department  store  cut  service  illustration. 


Page  Fifty 


METHODS 


To  practice  large  washes  com- 
mence by  drawing  a  large  square 
and,  tipping  your  board  towards 
you,  draw  your  brush  very  full 
of  color  across  the  top  of  the 
paper  from  left  to  right;  refill 
the  brush,  taking  up  the  rivulet 
on  the  edge  of  the  first  line  and 
repeat  the  operation  until  you 
have  covered  the  square.  You 
should  have  enough  paint  mixed 
in  your  saucer  to  finish  that 
square.  Very  l)eautiful  wa.sh  ef- 
fects are  oflon  obtained 
just  flat  Maslu's.  They  are  \iry 
artistic  and  lovely  because  of 
their  .simplicity  and  liave  none 
of  the  worked-ovi-r  look  of 
catalogue  work.     See  Fig.  S!). 

There  is  always  transparency 
and  life  to  the  first  wash  which 
is  lost  if  you  go  over 
it  often.  Never  be 
afraid  if  the  wash 
looks  too  dark.  Re- 
member thai  it  will 
dry  lighter  and  resist 
the  temptation  to 
work  on  it  when  i)arl- 
ly  dried.  You  nuist 
keep  it  clean  and 
bold.  Occasionally, 
stand  off  from  your 
work  and  see  how  it 
looks. 

Such  things  as 
white  dots  or  stripes 
on  the  dark  ground 
of  a  suit  are  i)ut  in 
with  ("liiiiese  while 
after  the  dark  material 
is  otherwise  finished. 


depart 


Gray  effects  to  be  put  on  over 
black  are  obtained  by  mixing 
Chinese  white  with  lampblack; 
this  makes  a  body  color  and 
can  be  put  on  over  dark  in  the 
same  manner  as  pure  white. 

If  a  light  streak  is  desired, 
for  instance  up  one  side  of  the 
skirt,  run  a  clean  brush  with 
very  little  water  in  it  up  that 
side  while  the  wash  is  still  quite 
wet;  this  will  give  the  desired 
effect. 

Sometimes  a  color  is  added 
to  a  wash  drawing  effectively. 
Tills  is  put  on  like  an  ordinary 
but  for  reproduction 
necessitates  the  using  of  two 
plates  and  two  jjrintings.  See 
Figs.  98  and  99. 

Fig.  93  shows  the  method  of 
procedure,  or  steps, 
in  doing  the  conven- 
tional wash  drawing 
for  a  catalogue.  For- 
tunately this  photo- 
graphic method  is 
giving  way  to  a  more 
artistic  one. 

30.  Crayon  Pencil. 
— Crayon  pencil  is  a 
fascinating  medium. 
It  is  used  in  pref- 
erence to  pencil  for 
rei)roduct  ion,  because 
it  has  not  the  shiny 
quality  of  the  usual 
lead  which  prevents 
that  from  photo- 
graphing well,  and 
therefore  from  being 
good  for  reproduction. 


t  service  illustration 


CRAYON  PENCIL 


Page  Fifty-one 


Chalk,  crayon  and  pencil,  however,  are 
handled  in  much  the  same  fashion  and 
have  much  the  same  effect,  and  by  them 
great  beauty  and  much  feeling  may  be 
expressed.  See  frontispiece.  Nevertheless 
chalk  does  not 
lend  itself  so 
readily  to  detail, 
famous  as  it  is 
for  its  more  illus- 
trative or  sketchy 
quality. 

Wolf  crayon 
pencils  are  very 
good.  B  and  3B 
Wolf  crayon 
pencils  and  kid 
Ijristol  board  are 
the  proper  ma- 
terials. Kneaded 
rubber  and  Eber- 
hard  Faber  green 
or  red  rubber  are 
useful,  also  an 
emery  board  pad 
to  keep  the  pencil 
points  sharp. 

It  is  best  to 
sketch  the  draw- 
ing in  first  with 
the  B  pencil  and 
then    put    the 

darkest  darks  in  with  the  3B  and  the 
more  delicate  finishing  touches  with  the 
sharply  pointed  B.  Sometimes  stumps 
are  used  to  rub  the  shadows  in,  giving  the 
drawing  less  line  texture.  See  Fig.  10. 
Sometimes  wash  is  combined  effectively 
with  the  crayon,  then  again  the  crayon 
drawing  is  carried  out  almost  entirely  in 
line.     See  Figs.  94  and  95. 

Sometimes    crayon    pencil    is    used    on 


rough  paper,  and  the  tooth  or  roughness 

of  the  paper  gives  an  interesting  texture 

to  the  drawing.     See  Fig.  45. 

In  doing  half-tone  drawings,  especially 

wash,  and  particularly  in  decorative  work, 
it  is  well  to  limit 
oneself  to  a  cer- 
tain number  of 
tones  or  values 
and  not  to  have 
a  number  of  in- 
termediary tints 
and  shades.  This 
is  best  done  by 
determining  how 
many  values  are 
desired,  mix  ing 
them  in  separate 
pans  (as  much  as 
is  to  be  needed  of 
each)  and  then 
limiting  the 
washes  to  these. 
This  gives  a  simple 
distinction  to  the 
finished  drawing 
which  is  decidedly 
desirable.  See 
Fig.  89.  This 
simplicity  is  lost 
in    Figs.    81,    44, 

;ment.  ,  ,  .  i 

and  53,  which  are 
done  in  such  a  realistic  way  because  of 
the  almost  photographic  reproduction  re- 
quired. Both  simplicity  and  charm  are 
lacking  in  some  magazine  illustrations, 
and  much  catalogue  work  where  a  realistic, 
or  photographic  effect  is  the  chief  aim. 
See  Figs.  103  and  93.  A  pleasing  com- 
promise between  the  strictly  decorative  and 
the  absolutelj^  photographic  can  be  seen  in 
Fig.  45,  where  line  effect  is  used  for  shad- 


Courtesy  of  Stern  Bros 
-Half-tone  catalogue  drawing,  also  used  for  magazine 


Page  Fifty-two 


METHODS 


inkp, 


iiif?,  IIk'  flitt  wa.shes  })i'iiig  put  on  over  llie 
chiircoal  drawing.  The  mistake,  Iiowcvit, 
of  mixing  these  two  styles  in  one  drawing 
must  be  avoiiled. 

In  instructing  a  class  it  is  well  for  the 
teacher  to  give  some  simple  problems  to 
be  done  in  two  or  more  values  of  wash. 
Many  good  examples  of  this  method  are 
to  be  found  in  Compos-iiion  by  Arthur  Dow. 


In  considering  methods  the  student  must 
keep  in  mind  what  the  purpose  of  his 
finished  work  is  and  then  use  the  method 
which  is  best  adapted  to  that  end.  But 
while  this  is  true  he  must  not  let  the 
method  he  is  using  interfere  with  the  ex- 
pression of  his  own  style  and  individuality 
of  work. 

In  doing  brush  work  with  ink,  .see  Fig. 


BRUSH  WORK 


Page  Fifty-three 


Magazine  pen  and  ink  advertising. 


Rawak  Hats. 


86,  it  is  well  first  to  become  acquainted 
with  this  medium  and  method,  on  some 
practice  paper.  The  decorative  effect  of 
good  spotting  is  very  important,  for  the 
finished  composition,  and  the  student  is 
again  referred  to  Composition  by  Arthur 
Dow,  a  careful  perusal  of  which  will  do 


much  for  a  more  comprehensive  under- 
standing of  the  possibilities  there  de- 
scribed and  illustrated.  These  can  in 
many  instances  be  applied  to  fashion 
work.  Fig.  73  and  83  are  examples  of 
fashion  sketches  where  good  spotting  has 
been  obtained  with  brush  work. 


page  Fiftj'-four 


METHODS 


XHE    EVENING    MAIL 


WANAMAKER'S 


WANAMAKERS 


WANAMAKERS 


WAKAMAKER'S 


Cfje  ^anamafecr  Cfjrisitmas!  ^ale  of  ^sicti  pianos!  anb  ^lapcr^^tanos; 

Fi(j.  84. — An  original  idea  for  a  musical  heading. 


/  of  John  Wanamaker, 


Etching  is  a  method  lately  used  in  fashion 
illustration.  Drian  and  ^Nliss  Steinmetz 
have  both  obtained  some  charming  effects  in 
this  way,  but  it  is  a  difficult  and  expensive 
medium  to  have  reproduced,  and  for  that 
reason  is  not  likely  to  come  into  general  use. 

The  student  is  recommended,  in  fact 
urged,  to  become  fann'liar  with  the  work 
and  methods  used  by  such  artists  as  Drian, 
Soulie,  BriMU'lleschi.  Barbier,  Lepape, 
Erte,  McQuin,  Steinmclz.  Helen  Dryden, 


Reta  Senger.  Fern  Forrester,  Claire  Avery, 
and  the  other  artists  mentioned  in  the 
text,  as  good  examples  of  the  best  work  is 
often  the  best  instructor  one  could  have. 

It  is  still  comparatively  seldom  that  the 
costume  designer  or  illustrator  does  much 
with  textile  designing,  the  field  being  con- 
sidered somewhat  apart,  but  as  a  change 
in  these  matters  appears  imminent,  it 
has  seemed  expedient  to  include  the  method 
of  procedure. 


Drawiug  by  Aubrey  Bcaidsley. 


Courtcsv  of  Abraham  <fc  Straus. 
Fig.  86. — Showing  how  brush  work  can  be 
combined  with  pen  and  ink. 


TEXTILE  DESIGNING 


Page  Fifty-five 


3 I- 


4 


I  Width  "IW  1 

Courtesy  of  Woftien's  Wear. 
Fig.  87. — This  illustrates  tlie  repeat  of  a  design  for  silk 
or  cotton  printing.     The  dotted  lines  are  not  part  of 
the  design,  bnt  are  to  show  that  the  unit  of  design  is 
repeated  in  the  length  every  three  inches. 


TEXTILE  DESIGNING* 

"  The  kind  and  color  of  paper  used  in  sub- 
mitting designs  is  immaterial.  But  we 
would  suggest  that  white  be  used  and  the 
ground  painted  in.  Tempora  paints  are 
generalljf  used.  At  least  one  full  repeat 
and,  if  the  design  be  small,  two  or  three 
repeats  should  be  shown.  The  design  is 
a"  guide  to  the  printer  or  weaver  and  must 
clearly  indicate  how  the  artist  desires  the 
finished  fabric  to  appear. 

"  The  technique  of  woven  designs  is  very 
complicated,  but  it  is  only  necessary  for 
the  artist  to  remember  that  simple  figures 
and  few  colors  are  best,  that  tlie  size  of 
each  repeat  should  never  exceed  twelve 
inches  and  the  repeat  is  across  the  web, 
not  in  the  length  as  it  is  in  printing. 

"  The  size  of  the  paper,  then,  would  de- 
pend on  the  size  of  your  design.  In  order 
*Thii 


that  you  may  clearly  understand  the  part 
that  dimension  plays  in  the  commercial 
value  of  a  design,  we  will  describe  the 
roller  over  which  silk  fabrics  pass  in  the 
process  of  printing: 

"  The  roller  is  16  inches  in  circumference 
and  three-quarters  of  an  inch  in  thickness. 
Its  width  is  immaterial  because  the  widths 
of  different  fabrics  vary  so  greatly.  The 
pattern  to  be  printed  is  engraved  in  the 
copper.  The  roller  revolves,  takes  up  the 
color  from  the  color  box  at  the  bottom; 
the   color   is    removed    from    the   smooth 


f-O 


Pig.  88.— Illustrating  three  kinds  of  Ben  Day. 
reprinted  through  the  courtesy  of  Women's  Wear. 


Page  Fifty-si:? 


METHOD 

"  You  will  see,  therefore, 
that  a  pattern  (in  order  to 
be  mathematically  correct) 
must  either  take  up  the 
entire  15  or  16  inches  of  the 
roller,  or  must  repeat  an 
even  number  of  times  with- 
in 15  or  16  inches.  In 
other  words,  the  pattern  must 
he  15  or  16  inches  in  length, 
or  must  be  repeated  at  in- 
tervals evenly  divisible  into 
15  or  16.  A  three-inch 
repeat  would  register  five 
limes  on  the  15-inch  roller; 
a  four-inch  repeat  four  times 
(.11  a  16-inch  roller;  a  5|-inch 
i'e])eat,  three  times  on  on  a 
Kl-inch  roller;  there  is  prac- 
tically no  limit  to  the  pos- 
sible variations.  A  12-inch 
repeat,  on  the  other  hand, 
would  be  impossible;  it  would 
have  to    be    diminished    to 


surfaces  by  the  scraper,  or  'doctor'  at  the 
side,  and  remains  only  in  the  indented 
portions,  which  constitute  the  pattern.  The 
cloth,  passing  just  above  the  doctor,  takes 
up  the  color  that  remains  in  the  indented 
or  engraved  jjorlions,  and  registers  the 
design. 

"  A  new  cylinder,  as  we  have  said  above, 
is  16  inches  in  circumference.  AMien  a 
manufacturer  wants  no  more  goods  printed 
from  a  ceitain  pattern,  the  cylin<ler  is 
polished  off  and  engraved  with  a  new  piil- 
tern.  AVith  each  polishing  a  thicknes>  nl 
copper  is  removed,  and  the  circumfereiK  t 
of  the  cylinder  of  course  grows  less.  When 
a  cylinder  has  been  used  for  a  number  of 
patterns,  the  circumference  has  gradually 
been  reduced  from  16  to  15  inches,  and  when 
it  becomes  less  than  15  inches  it  is  junked. 


TEXTILE  DESIGNING 

one-third  or  one-fourth  its  size  to 
become  practicable  for  printing.  Most 
commercial  designers  work  on  a  7|-inch 
square  for  silk. 

"  The  above  refers  to  the  printing  of 
silks.  For  printing  cottons,  the  same 
process  is  used.  A  cotton  printing 
roller,  however,  is  18  inches  in  cir- 
cumference when  new,  and  for  suc- 
ceeding patterns  is  polished  until  the  cir- 
cumference becomes  16  inches.  When 
designing  for  cottons,  therefore,  the 
repeat  must  be  figured  on  the  basis 
of  a  16-  to  18-inch  cylinder,  corre- 
sponding to  the  15-  to  16-inch  scale 
for  silk  printing.  For  example,  a  three- 
inch  repeat  could  be  used  for  silk  or 
cotton  being  divisible  into  either  15  or 
18.  On  the  other  hand,  a  six-inch 
repeat  could  be  used  only  for  cotton; 
it  is  evenly  divisible   into    18   but   is 


Page  Fifty-seven 


Cuttrte^y  oj  Chtnty  Bros 
Fig.  92. — Characteristic  half-tone  magazine  advertising. 


CouTtesv  01  Crit  ~rton  Magazine. 
1. — Magazine  half-tone  pattern  drawing. 

not  evenly  divisible  into  15  or  16. 
An  8|-inch  square  is  the  commer- 
cial standard  for  use  in  cotton  design- 
ing for  dress  goods. 

"  A  pattern  is  expensive  in  propor- 
tion to  the  elaborateness  of  the 
engraving  and  the  number  of  colors 
used.  It  is  commercially  important, 
therefore,  that  the  arrangement  of 
colors  be  effective  and  the  actual 
number  of  them  be  kept  down. 
It  is  better  to  limit  the  number 
of  colors,  if  possible,  to  five  or  less 
although  more  colors  can  be  used. 
This  refers  both  to  silk  and  cotton. 

"  With  no  wish  to  restrict  the  art- 
ist, we  suggest  that  museums  and 
libraries  be  often  consulted  for  ideas 
and  we  feel  that  the  artist  may 
with  profit  give  some  thought  to 
the  condition  of  mind  of  the  women 
of    America.     For    this    is    always 


Page  Fifty-eight 


METHOD 


f 


y.'!.— IIIu.slniliiiBsk-psinjK 


aloKuc  <lrawing. 


of  great  importance  in  (U-UTniining  tlu' 
sale  of  decorated  fabrics.  Endeavor  to 
make  designs  that  are  beautiful  ;iii<l 
original  at  the  same  time  they  are 
appropriate  to  certain  definite  fabrics. 
Remember  that  a  design  may  be  intri- 
cate and  not  beautiful,  may  even  be 
beautiful  and  not  api)ropriale.  Do  not 
be  afraid  to  be  simple  and  do  not  merely 
copy.* 

"  Keep  in  mind  that  a  textile  design  is  not 

*  In  designing,  scale  of  color  and  texture  musl  not  l>< 
indoors  are  appropriate  for  sport  wear  out  of  doors,  wl 


a  picture,  seen  on  a  (lal  surface,  but  the 
decoration  of  a  garuieni  which  will  fall 
in  folds.  VisiuUize  your  design  in  the 
fabric,  made  up  as  some  part  of  a  woman's 
costume.  That  is  the  test  of  a  good  design." 
The  chapters  on  Color,  Design  and 
Period  F:il)ric  Design  should  be  care- 
fully consulted  in  connection  with  the 
mechanical  method  given  above  in  re- 
gards to  Textile  Designing.  For  general 
Theory  of  Design  such  books   as   Design 

vorlooked.      Certain  colors  that  arc  loo  l)rilli;iiil  or  crude  for 
e  Uie  scale  of  everything  is  greater. 


TEXTILE  DESIGNING 


Page  Fifty-nine 


^^' 


Crayon  pencil  sketches. 


in  Theory  and  Practice  and  Principles  of 
Design  by  Ernest  Batchelder,  Handbook 
of  Ornament  by  F.  S.  Meyer,  Decorative 
Design  by  Joseph  Cummings  Chase, 
Theory  of  Pure  Design  by  Denman  Ross, 
200  Units  of  Design  (plates),  Henry 
Warren  Poor,  and  Plant  Form  and  Design 
by  A.  E.  V.  Lilley  and  W.  M.  Midgley 
will  all  be  found  helpful  to    the  student. 


The  peasant  design  must  not  be  over- 
looked and  such  books  as  "A  Magyar 
Nep  Miiveszete,"  Molonyay,  in  four  vol- 
umes. Peasant  Art  in  Austria  Hungary, 
Peasant  Art  in  Sweden,  Lapland  and 
Iceland,  and  Peasant  Art  in  Russia, 
edited  by  Charles  Holme,  will  be  found 
an  inspiration  to  designers  and  stu- 
dents. 


drawn  by  Claire  Avery. 


From  ail  etcliiiiy  Ijy   E.  M.  A.  Stein 


Courusa  of  Harpefs  Bazar. 


COLOR 

CHAPTER    FOUR 


c  a 


I  I  nil 


II       II 


>  >•  O  u 


I  o 


en  la  ^ 
OS  -'  fi 

553 


£b 


o  J  u 

u  ^  w 


CHAPTER  FOUR 


COLOR 


31.  General  Theory. — The  most  con- 
venient and  general  theory  *  about  color 
is  that  based  on  the  three  primaries,  red, 
yellow,  and  blue.  As  these  colors  can- 
not be  reproduced  by  the  mixture  or 
combination  of  any  other  colors,  they  are 
said  to  be  pure  or  simple  colors,  i.e., 
primaries. 

The  secondary  or  binary  colors  are 
orange,  green,  and  purple.  These  are 
made  by  mixing  two  of  the  primary  colors 
together.  This  mixture  forms  the  C07n- 
plement  of  the  remaining  primary.  Binary 
colors  are  halfway  between  the  primaries 
en  the  color  chart. 

Red  and  blue  make  purple,  the  com- 
plement of  yellow,  and  directly  opposite 
yellow  on  the  color  circle. 

Blue  and  yellow  make  green,  the  com- 
plement of  red,  and  directly  opposite  red 
on  the  color  circle. 

Yellow  and  red  make  orange,  the  com- 
plement of  blue,  and  directly  opposite 
blue  on  the  color  circle. 

Complementary  colors,  being  directly 
opposite  in  the  spectrum  circuit,  are 
wholly  unrelated  in  their  normal  intensity. 
They  show  strong  contrast  and  enrich 
each  other.     See  Fig.  96. 

A  color  mixed  with  its  complement 
makes  gray. 

*  Another  Theory:  There  is  another  color  theory  which 
declares  the  elements  of  color  to  be  red,  green,  and  violet- 
blue.  This  is  based  on  spectrum  analysis  instead  of 
pigments  and  is  preferred  by  some  authorities.  It  changes 
the  color  wheel  somewhat,  regarding  colors  and  their 
complements,  making  red  the  complement  of  blue-green, 
green  the  complement  of  red-purple,  and  violet-blue  the 
complement  of  yellow. 

For  further  explanation  see  A  Color  Notation  by  A.  H. 
Munsell. 


The  coldest  color  is  blue  and  the  warmest 
is  its  complement,  orange,  which  is  the 
farthest  away  from  blue  in  the  color 
wheel. 

Tertiary  Colors  are  those  formed  by 
the  mixture  of  the  secondary  colors. 
Thus,  green  mixed  with  purple  makes 
olive;  orange  mixed  with  green  makes 
the  tertiary  citrine;  and  orange  mixed 
with  purple  gives  russet. 

The  more  a  color  is  grayed  the  more 
neutral  it  becomes. 

By  normal  color  is  meant  the  foundation 
color  of  a  scale  of  tone,  the  tones  getting 
darker  or  lighter  from  this  foundation. 

By  tone  is  meant  the  modification  of 
any  normal  color  by  the  addition  of 
black  or  white. 

By  tint  is  meant  the  light  tone  of 
any  color  (formed  by  the  adding  of  white 
or  water  to  a  standard  color). 

By  shade  is  meant  the  dark  tone  of 
any  color  (formed  by  the  adding  of 
dark  or  black  to  a  standard  color). 

By  scale  of  color  is  meant  the  grada- 
tion of  a  series  of  tones  of  the  same  color 
from  the  lightest  tint  through  the  normal 
or  pure  color  to  the  darkest  shade. 

By  hue  is  meant  the  departure  from 
the  original  scale  of  a  certain  color,  to 
a  greater  or  less  degree,  by  the  addition 
of  a  comparatively  small  proportion  of 
another  color.  For  hue  think  around  the 
color  sphere;  the  even  steps  between  the 
binary  and  adjacent  primary  in  the  color 
sphere  is  called  the  hue.  Thus  the  step 
between  blue  and  green  is  blue-green, 
between  green  and  yellow,  yellow-green, 
both   hues   of   green.     In   the   same   way 


Page  Sixty-four 


COLOR 


there  are  two  hues  of  violet,  two  of  orange, 
and  two  of  red.  To  change  a  color  to 
a  hue  add  the  next-door  neighbor  (any 
color  between  two  primaries),  that  is, 
change  its  place  on  the  spectrum. 
By  intensity  or  chroma  is  meant  the 


think  up  and  down  the  color  sphere; 
yellow  is  lightest,  violet  darkest,  in  value. 
32.  Harmonies  of  Likeness. — Har- 
monies of  likeness  may  be  classified  as: 
1.  Monochromatic,  i.e.,  a  group  of  dif- 
ferent tones,  values  or  intensities  of   one 


Courtesy  of  Good  Uousekecjnng- 
olor  Ben  Day  is  used. 


strength  or  brilliancy  of  a  color.  For 
intensity  think  inward  or  across  the 
sphere.  To  change  intensity,  add  the 
complementary  color;  in  other  words, 
gray  it. 

By  value  is  meant  the  amount  of  dark 
or  light  expressed  by  a  color.     For  v^alue, 


color.     This    is    sometimes    called    a    one 
mode  harmony. 

2.  Analogous,  i.e.,  made  by  colors  that 
are  next  to  each  other  in  the  color  circle, 
and  are  harmonious  because  they  have, 
in  different  quantities,  a  common  element. 

3.  Dominant  Harmony,  i.e.,  several  colors 


HARMONIES  OF  DIFFERENCE 


Page  Sixty-five 


all   influenced   or   subdued   by   the   same 
color. 

33.  Harmonies  of  Difference. — The  har- 
monies of  difference  are:  4.  (a)  Comple- 
mentary, i.e.,  two  complementary  colors 
used  together  with  some  unifying  ele- 
ment, by  the  mixing  of  the  one  with  the 
other  or  by  mixing  a  little  gray  with 
both. 

(6)  Split  complementary  harmony,  i.e., 
the  combination  of  a  primary  with  the 
two  colors  on  each  side  of  its  secondary 
complement;  as  yellow  combined  with 
red-violet,  and  blue-violet,  or  blue  com- 
bined with  yellow-orange  and  red-orange, 
or  red  combined  with  yellow-green  and 
blue-green.  Always  begin  on  the  pri- 
mary and  split  on  the  complement;  never 
split  a  primary  color. 

(c)  Double  complem,entary  harmony,  i.e., 
that  made  by  the  combination  of  two  colors 
side  by  side  on  the  color  wheel  with  their 
direct  opposites,  as,  for  instance,  violet 
and  blue-violet  with  yellow  and  yellow- 
orange. 

5.  Triad  Harmony,  i.e.,  any  harmony  of 
three  colors  that  make  an  equilateral  tri- 
angle in  the  spectrum  circle.  Example: 
yellow-orange,  blue-green  and  red- violet. 
In  producing  triad  harmony,  use  hues 
and  neutralize  to  make  them  harmonious. 
Only  one  of  the  three  should  be  wholly 
intense. 

34.  Laws  for  the  Use  of  Color.— Law 
governing  intensity.  The  larger  the  area 
the  less  intense  the  color  must  be  and 
the  smaller  the  area  the  more  intense  the 
color  may  be. 

Law  of  background. — Backgrounds  must 
be  more  neutral  than  objects  shown  upon 
them. 

Neutralization. — Three  parts  yellow  and 

*  It  is  not  well  to  combine  colors  in  their  full 


one  part  violet  makes  a  neutralized  yellow 
or  gray-yellow. 

Three  parts  violet  and  one  part  yellow 
makes  a  neutralized  violet  or  gray-violet 
halfway  between  violet  and  gray.  This 
is  true  of  the  other  colors.* 

35.  The  Color  Chart. — To  make  a  color 
circle  which  is  composed  of  the  full  in- 
tense primary  colors,  yellow,  red,  and 
blue,  and  full  intense  binary  or  sec- 
ondary colors,  orange,  green,  and  violet, 
and  the  full,  intense  intermediate  hues, 
yellow-orange,  yellow-green,  blue-green, 
blue-violet,  red-violet  and  red-orange, 
with  the  inner  circle  showing  these  colors 
half  neutralized  and  the  center  neutral 
gray,  a  paper  should  be  used  which  holds 
water  color  (a  "Keystone"  Student's 
Drawing  Block  nine  by  twelve  is  good), 
on  which  to  make  the  washes.  These 
may  be  put  on  in  small  areas  from  two 
to  four  inches  square.  Satisfactory  colors 
to  use  for  this  chart  are  Winsor  &  Newton's 
Gamboge  for  yellow,  Winsor  &  Newton's 
Alizarine  Crimson  mixed  with  Milton 
Bradley's  Standard  Red  for  red,  Winsor 
&  Newton's  New  Blue  for  blue,  Winsor 
&  Newton's  Cadmium  Orange  and  Stand- 
ard Red  for  orange,  New  Blue  and  Milton 
Bradley's  Standard  Green  for  green,  and 
Milton  Bradley's  Standard  Violet  for 
violet. 

(Don't  mix  standard  red,  standard 
green,  or  standard  violet  with  other  colors 
for  use,  except  on  the  chart.  They  stain 
and  settle.  They  can  be  used  satisfactorily 
only  in  small  areas.  The  ten-cent  tube 
is  the  size  to  obtain  for  the  color  chart 
— the  Winsor  &  Newton  colors  difler  in 
price  and  are  more  expensive.  These  are 
the  colors  that  seem  the  best  to  obtain 
the  desired  result.) 

intensity  unless  relieved  by  black  or  white. 


Page  Sixty-six 


COLOR 


To  obtain  the  hues  such  as  yellow  orange, 
it  is  understood  that  a  little  yellow  is 
added  to  the  orange,  for  yellow-green  a 
little  yellow  to  the  green,  while  for  blue- 
green  a  little  blue  is  added  to  the  green, 
etc.  The  colors  of  the  inner  circle,  which 
are  knowTi  as  colors  at  their  half  intensity, 
as,  for  instance,  gray-orange  or  gray-yellow, 
are  obtained  by  mixing  the  color  with  its 
complement.  For  example,  about  three 
parts  yellow  plus  one  part  violet  makes 
a  neutralized  yellow  or  gray-yellow.  On 
the  other  hand,  three  parts  violet  plus  one 
part  yellow  equals  gray-violet,  and  this  is 
true  of  all  the  other  colors.  The  throe 
primaries  mixed  give  the  center,  neutral 
gray.  (Alizarine  crimson,  gamboge  and 
new  blue.) 

Taking  a  neutral  scale  showing  nine 
degrees  of  value  from  white  to  black,  the 
equivalent  color  values  should  be  found 
for  the  color  chart;   as  for  example,  the 


Yellow 

Yellow-Orange 

Yellow-Green 


W.  White 

H.  L.  High  Light 

Light 

L.  L.  Low  Light 

yi.  yinuik' 


Orange  | 
Green    J 
Red -Orange 
Blue-Green 

Sr^   !  H.  D.  High  Dark 

Blue  J 

Red-Violet 

Blue- Violet 

Violet  Low  Dark 

B.  Black 

This  value  scale  should  be  used  in 
selecting  colors  in  order  to  keep  them 
keyed  correctly  together  according  to 
value. 


D.  Dark 


Practice  on  the  paper  in  these  small 
squares  about  three  inches  in  size  until 
satisfactory  results  are  obtained;  do  not 
get  your  paint  on  too  thick  or  too  thin. 
Be  sure  your  brush  is  perfectlj^  clean  and 
get  one  color  at  a  time,  always  making 
four  or  five  squares  that  you  may  be  sure 
to  obtain  a  satisfactory  value  for  your 
choice  of  color.  After  you  have  finished 
cut  your  squares  out  and  compare  them 
with  your  value  scale;  half  closing  your 
eyes  often  helps  this  comparison.  AYhen 
a  satisfactory  selection  has  been  made, 
use  either  a  quarter,  a  nickel,  or  a  dime, 
according  to  the  size  of  the  chart  you 
wish  to  make  and  put  these  over  the 
smoothest  part  of  the  washes,  draw  with 
a  sharp  pencil  a  circle,  with  the  coin  as 
a  guide,  and  then  cut  out  the  colored 
discs.  A  compass  should  be  used  to 
make  a  guiding  line  for  the  placement  of 
these  small  discs,  which  should  be  done 
very  carefully.  A  good  library  paste 
should  be  used  to  mount  the  discs. 

36.  Significance  of  Color. — In  Prin- 
ciples oj  Adrcrtisiiuj  ArruiKjcmenl  the  author 
says:  "Color  is  one  of  the  most  interest- 
ing and  important  elements  in  nature, 
because  the  eye,  the  organ  of  one  of 
the  five  senses  of  man,  sees  nothing 
but  color.  Form,  as  we  call  it,  is  seen 
only  because  one  color  is  placed  against 
another  and  by  its  position  and  contrast 
makes  a  shape.  And  every  tone  of  color 
has  a  separate  meaning — yellow  speaks  a 
definite  thing  to  those  who  understand  it. 
Blue  cannot  say  what  j'ellow  says — 
neither  can  red  or  violet." 

In  a  folder  gotten  up  by  the  Art  in 
Trades  Club  of  New  York  City,  valuable 
information  was  given  in  a  strikingly  simple 
and  concise  way  under  the  heading.   The 


SOURCES  OF  COLOR  SCHEMES 


Page  Sixty-seven 


Principles  of  Color  Harmony,  which  reads 
as  follows: 

"  Psychological   Significance. — Color,  as 

it  varies  in  hue,  value  and  intensity,  by 

">^    its  intrinsic  qualities  and  the  association 

of  ideas,  excites  certain  definite  thoughts 

and  feelings  in  the  human  mind. 

Hues. — Blue — cold,  formal  and  distant. 

Green — cool  and  restful. 

Yellow — cheerful,  brilliant  and  unify- 
ing. 

Red — warm,  rich  and  aggressive. 

Orange — hot,  striking,  but  decorative. 

Violet — mournful,  mystic,  and  darken- 
ing. 

Value. — Light  color  tones  express  youth, 
femininity,  gayety  and  informality. 

Dark  color  tones  express  strength,  dig- 
nity, repose,  and  seriousness. 

Intensity. — Colors  in  their  full  intensity 
are  strong,  loud,  vital,  and  elemental  in 
feeling. 

Colors  that  have  been  neutralized  ex- 
press subtlety,  refinement  and  charm. 

Balance  in  Color  Harmony. — Colors  to 
balance  in  harmony  must  be  similar  in 
intensity  and  area.  If  dissimilar,  the  in- 
tensity must  vary  in  inverse  proportions 
to  the  area. 

Backgrounds  should  be  less  intense  than 
objects  to  be  shown  on  them."  (It  is  not 
well  to  figure  a  whole  warm  object  on  a 
cold  background.) 

37.  Sources  of  Color  Schemes. — Many 
are  the  designer's  sources  for  color  schemes. 
With  the  knowledge  of  what  harmony 
consists  in,  he  may  go  to  nature  and  find 
an  endless  variety  in  the  animal,  mineral, 
bird,  reptile  and  flower  kingdoms,  and 
in  atmospheric  effects.  Or  he  may  go 
to  museums  and  study  china  and  glass 
and  textiles,  such  as  tapestries,  rugs  and 


old  embroidery  and  laces.  Again,  he  may 
go  to  picture  galleries  and  get  inspira- 
tions from  old  and  new  Japanese  prints 
and  from  old  and  new  masters  in  art. 
See  illustration  of  the  gown  adaptation 
from  Whistler's  Nocturne,  Fig.  102. 

In  deciding  what  colors  are  becoming; 
it  must  be  remembered  that  a  color  not 
only  reflects  its  own  tint  on  the  face  of 
the  wearer,  but  also  its  complement  (this 
is  called  simultaneous  contrast) .  Therefore, 
the  eyes,  hair,  and  skin  of  the  wearer  must 
be  considered  and  such  a  color  for  the 
dress  chosen  as  will  neither  give  the  per- 
son a  faded,  ghastly  tinge  nor  too  harsh 
and  florid  an  appearance,  but  which  will 
enhance  his  or  her  particular  beauty.  In 
large  areas  neutralized  colors  are  always 
best — avoid  the  harshness  of  too  much 
intensity. 

A  very  ugly  combination  may  result 
from  putting  together  two  different  hues 
of  the  same  color.  Simultaneous  contrast 
can  take  place  with  a  disastrous  result. 
This  is  often  what  we  mean  when  we 
say  one  blue  kills  another  or  one  red  kills 
another  red.  On  account  of  this  matter 
of  hue,  things  that  are  the  same  color 
but  of  a  different  hue  do  not  always 
harmonize. 

Be  careful  about  using  together  colors 
of  the  same  intensity,  unless  both  or  one 
is  much  neutralized.  It  is  usually  more 
satisfactory  to  use  the  more  brilliant 
color  in  the  smaller  quantity. 

Modern  colors  have  taken  on  many 
titles  which  they  change  from  season  to 
season,  and  which,  while  catering  to  the 
imagination  of  the  public  are  quite  over- 
whelming. This  is  wittily  expressed  in 
the  following  quotation  from  Dr.  Frank 
Crane. 


Page  Sixty-eight 


COLOR 


MODERN   COLOR 

BY 

Dr.  Frank  Crane 

"Yes,"  said  the  saleslady,  "we  have  all  the  new  official 
Panama  Exposition  colors!" 

"For  instance?" 

"Well,  there's  flagpole  red,  wall  blue,  exposition  gold, 
travertine,  lattice  green,  and " 

"But  haven't  you  anj-thing  in  just  plain  colors — red, 
green,  or  yellow  and  so  on?" 

"Oh,  no!" 

"Aren't  those  reds  over  there?" 

"We  don't  say  red,  you  know,  any  more." 

"What  then?" 


"Well,  this  is  cerise  and  those  are  raspberry,  brick 
dust,  cardinal,  crushed  strawberry,  carnation,  and — let 
me  see — this  is  old  rose,  this  is  ashes  of  roses,  this  is 
watermelon,  this  is  sunset  pink." 

"You  interest  me.     How  about  blues?" 

"Why.  there  is  navy  blue,  and  Copenhagen  blue,  and 
Alice  Blue,  and  old  blue,  and  ultramarine  blue,  and  sky 
blue,  and  robin's  egg  blue,  and " 

"That's  enough.  I'm  afraid  you'll  say  Monday  blue. 
Tell  me  some  yellows." 

"Oh,  lots  of  them!  Straw,  champagne,  dust,  tan,  ca- 
nary, lemon,  orange,  tango,  sand,  and  so  on." 

"Goodness!" 

"Then  we  have  in  greens,  Nile  green,  parrot  green, 
lettuce  green,  Alice  green,  emerald  green,  Irish  green, 
Reseda  and  others." 


Courtesy  of  Criterion  Magazine. 


Fig.  98. — The  reproduction  from  the  color  plate. 


SOURCES  OF  COLOR  SCHEMES 


Page  Sixty-nine 


"Isn't  there  any  such  thing  as  just  plain,  ordinary 
green?" 

"Oh  no!  It's  the  shade,  you  know.  Here,  for  example, 
are  elephant's  breath  gray,  and  taupe." 

"Indeed!" 

"Yes;  and  then  all  the  flower  colors  are  represented — 
rose,  violet,  lavender,  wistaria,  nasturtium,  pansy,  daf- 
fodil, American  Beauty,  cherry  blossom,  and  poppy 
red." 

"Charming!     They  appeal  to  the  imagination." 

"Precisely  Half  of  the  color-pleasure  of  dress  goods 
is  the  pleased  fincy       ^^e  strne  foi   the  unique    such  as 


wood  shades — walnut  brown,  mahogany,  oak,  and  chest- 
nut; bird  colors,  such  as  coxcomb,  chanticleer,  dove, 
canary,  yellow  and  parrot  green;  jewel  tints,  as  ruby, 
sapphire,  pearl,  amber,  topaz,  coral,  jade,  and  turquoise 
blue." 

"I  am  overwhelmed." 

"Oh,  there  are  others — the  most  fantastic.  You  can 
have  a  claret  necktie,  a  flame  ribbon,  laces  of  ivory  or 
Isabella,  a  sash  of  cream,  coffee,  or  chocolate  color;  a 
gown  of  mouse  gray  or  steel  gray,  and  other  articles  of 
your  apparel  to  assist  ypu  to  perfect  self-expression. 
Maybe  the  color  of  pomegr^ate,  apple  gieen,  fawn,  delfl 


*;\'  8082 

Courtesy  of  Criierio 
Fig.  99. — Reproduction  showing  the  combination  printing  from  the  two  plates. 


Page  Seventy 


COLOR 


blue,  lapis  lazuli,  taffy,  salt  and  pepper,  mustard,  cinna- 
mon, mud,  stone,  cabbage,  putty,  string  color,  or  wine 
color,  besides  Indian  red  or  Pompeian  red,  sea  green  or 
pea  green! "' 

"  Thanks!  I  think  I'll  take  some  ribbons,  some  of  those 
advertised  as  "distinctly  American  in  nomenclature"" 
give  me  some  Palm  Beach,  Piping  Rock,  Tu.xedo  brown, 
Arizona  silver,  Gettysburg  gray,  Oregon  green,  Delaware 
peach,  Newport  tan,  and  Rocky  Mountain  blue,  if  you 
please." 

38.  Applying  Colors. — In  painting,  bo- 
gin  at  the  top  and  color  (iownwariK  from 
your  left  to  your  right.  The  edge  of  a 
color  may  be  softened  by  a  clean,  damp 
bru.sh;  this  is  necessary  in  doing  velvets. 
WIkmc  shiny  taflFeta  is  desired,  lei  the 
])ainls  dry  in  a  harder  line  to  give  crisp- 
ness  and  do  not  work  over  while  still  wet. 

Cold  colors  serve  as  shadows  to  warmer 
colors  and  should  be  laid  on  first;  gen- 
erally, warm  colors  over  cold  should  l)e 
the  rule.  After  the  sketch  is  finished 
and  dry,  unfinished-looking  darks  can  be 
picked  lip  with  some  darker  darks  and 
the  high  lights  on  the  edges  of  coats, 
pockets,  tucks,  etc.,  can  l)e  brought  out 
by  thin,  steady,  cri.sp  Chinese  while 
lines  when  detail  is  desired. 

Prussian  Blue,  Lake,  and  Sepia  mixed 
make  gray.  One  way  of  graying,  or 
neutralizing,  a  color  is  by  adding  a  little 
of  its  complement;  but  Payne's  Gray 
and  black  are  often  of  value  for  this  use 
in  dressmakers'  sketches  and  commercial 
drawings. 

All  brushes  must  be  kept  clean  and  rin.sed 
after  use.  Never  leave  them  in  the  water. 
Take  plenty  of  color  in  your  brush  and 
try  first  on  a  piece  of  spare  paper  to  see 
that  you  have  the  right  tone  and  that 
the  brush  is  not  too  wet  or  too  dry. 

When  you  intend  covering  a  space  with 
a  flat  tone,  have  enough  color  mixed  to 
go  from  the  top  to  the  bottom  and  from 


side  to  side  without  doing  any  more 
mixing  or  dipping  your  brush  again  in 
the  water.  Have  the  drawing  board  tilted 
toward  you  and  enough  color  in  your 
brush  to  ensure  its  keeping  the  little 
rivulet  going  without  the  danger  of  dry 
spots.  For  practice  work  it  is  well  to 
make  some  eight-inch  squares  and  to  try 
covering  their  surfaces  with  a  uniform 
tone. 

When  you  are  making  a  dressmaker's 
sketch  in  white,  it  is  sometimes  helpful  to 
put  a  little  color  in  the  background,  up  on 
one  side  and  down  on  the  other,  not  mak- 
ing it  too  intense,  and  taking  care  to 
soften  the  edge. 

When  wishing  to  work  in  opaque  (or 
body  color),  add  a  little  Chinese  White 
to  your  color.  This  is  often  useful  for 
reproduction.  What  are  known  as  Devoe's 
Show  Card  Colors  are  good  for  tempera 
fashion  work.  Theatrical  costume  designs 
are  often  carried  out  in  this  way.* 

Thompson's  While  has  a  stiff  quality 
which  makes  it  of  value  in  doing  dress- 
makers' .sketches,  where  rai.sed  l)uttons, 
l)eads,  embroidery,  lace,  etc.,  are  desired. 
Put  it  on  rather  dry  and  let  it  stand 
until  all  moisture  seems  gone  before  touch- 
ing up  these  buttons,  beads,  or  lace  with 
color,  gold  or  silver.  Ink  is  often  used 
with  color,  both  for  dressmakers'  sketches 
and  for  reproduction. 

Have  3'our  sketch  always  carefully  made 
in  pencil,  putting  in  the  details  last. 
Put  in  your  big  washes  first  and  keep  the 
whole  sketch  going,  being  particular  not 
to  concentrate  too  much  on  any  one 
part.  Avoid  "  niggling  ";  keep  your  wash 
clean  and  bold. 

Oramge  Vermilion  makes  good  flesh 
tones — vermilion,  good  lips  and  color  in 
Page  Nine. 


COLORS 


Page  Seventy-one 


cheeks.  There  are  two  ways  of  putting 
this  color  on;  one  by  putting  the  orange 
vermiHon  in  a  very  Hght  tone  over  all 
the  flesh  and  then,  when  dry,  adding  the 
desired  color  to  the  cheeks  (preferably 
having  it  high  on  the  cheek  bone)  and 
quickly  softening  the  edge;  the  other 
way  by  stippling  or  putting  on  the  added 
color  with  the  tiny  point  of  the  brush 
while  the  all-over  flesh  tone  is  still 
wet. 

Always  remember  that  colors  dry  much 
lighter.  Blue  and  bluish  gray  make  good 
shadows  for  white.  In  doing  a  dress- 
maker's sketch  in  dark  blue  or  black, 
always  keep  the  color  transparent  and 
lighter  than  the  real  material,  though 
having  the  same  effect,  so  that  the  detail 
will  be  shown. 

The  following  supplies  will  be  found 
useful  in  doing  this  kind  of  water-color 
work: 

Colors. — Winsor  &  Newton  colors  are 
preferred.  Less  expensive  but  good  stu- 
dent's colors  are  Devoe  and  Favor  Ruhl. 
It  is  best  to  buy  the  box  separately  and 
fill  it  with  the  colors  desired.  Tubes  dry 
up,  therefore,  unless  colors  are  to  be  used 
constantly  or  in  quantity,  it  is  more  eco- 
nomical to  buy  half  pans,  with  the  excep- 


tion of  black  and  white;  these  should 
be  bought  in  the  tubes. 

One  should  have  Prussian  Blue  and 
either  New  Blue,  Cobalt,  or  Ultramarine, 
Payne's  Gray,  Emerald  Green,  Hooker's 
Green  1,  Hooker's  Green  2,  Lemon  Yellow, 
Yellow  Ochre,  Naples  Yellow,  Raw  Sienna, 
Burnt  Sienna,  either  Rose  Madder,  Car- 
mine or  Crimson  Lake,  Vermilion,  Orange 
Vermilion,  Mauve,  Sepia,  Van-Dyck 
Brown,  Gold,  and  Silver.  In  tubes,  Lamp- 
black and  White,  and  Thompson's  White 
if  raised  work  is  desired.  This  list  is 
found  convenient  in  saving  the  time  of 
mixing  in  doing  dressmakers'  colored 
sketches. 

The  best  colors  to  get  in  the  Devoe 
Show  Card  list  are  White,  Light  Yellow, 
Orange,  Light  Red,  Magenta,  Mauve, 
Dark  Blue,  Light  Blue,  and  Green.  Some 
artists  use  letterine  when  a  shiny  finish 
is  wanted. 

Brushes.  Rubens,  and  Winsor  &  New- 
ton red  sable  brushes  are  recommended. 
Good  sizes  for  fashion  work  are  Nos.  3 
and  4,  and  6  and  7.  Devoe  or  some  less 
expensive  brushes  should  be  used  for  ink, 
Chinese  white,  gold,  and  silver,  which 
are  injurious  to  brushes.  Bristle  brushes 
are  good  for  a  steady,  broad  line. 


(^y^ 


Drawn  by  Robert  Henry  for  Felix  Jungmann  &  Cie.,  Paris. 


^<^x^ 


C.BflRBjtR.      ,^,j 


LES    COLCHIQUES 

Manteau    <Je   voyage   de   Paqtiin 


From  a  color  illustration  liy  Gcorfie  Barbier. 


DESIGN 

CHAPTER     FIVE 


CHAPTER  FIVE 


DESIGN 


39.  Fundamentals  of  Good  Design. —  full  at  the  shoulder  and  skirts  that 
Order  is  the  law  of  all  design,  No  matter  are  very  narrow  at  the  bottom,  as  these 
how  far  we  allow  our  fancy  to  go,  we  should     accentuate  the  size  of  the  hips  and  trunk. 


never  lose  sight  of  the 
principles  of  design;  bal- 
ance, rhythm,  and  harmony. 
Furthermore,  we  should 
always  aim  at  simplicity 
and  appropriateness. 

Like  the  architect,  we 
should  study  ancient  and 
mediaeval  examples  as  well 
as  later  ones.  Like  his, 
our  problem  is  two-fold: 
First,  to  find  out  the  best 
and  most  beautiful  that 
can  be  conceived,  and 
second,  to  adapt  it  to  our 
own  present-day  needs. 

Great  heed  must  be 
given,  fundamentally,  to 
personal  characteristics. 
The  materials  used  for 
comfort  or  ornament  can 
then  be  so  chosen  and  so 
treated  as  to  neutralize 
individual  defects  or  de- 
ficiencies and  to  enhance 
every  good  point.* 

40.  Facts  Always  to  be 
Kept  in  Mind. — Common 
sense  and  observation 
show  that  stout  people 
should  avoid  large  head 
decorations,  and  hats  which 
make  a  person  appear 
shorter  than  their  real  height,  as  thej' 
enlarge  the  head  proportion.  They 
should  also  avoid  sleeves  that    are   very 


Horizontal  lines  make 
the  figure  look  shorter 
and  stouter;  the  shorter 
the  vertical  lines  are 
made,  the  shorter  the 
person  will  seem.  Bands 
of  contrasting  tone  or 
color  accentuate  the  line 
effect.  Stout  people  should 
avoid  large  figured  goods 
and  materials  too  bright 
or  too  fight  in  color. 

Thin  people  with  very 
narrow,  sloping  shoulders 
should  avoid  the  exagger- 
ated kimona  and  shoulder 
seams  drooping  over  the 
arm,  and  should  keep  to 
the  horizontal  shoulder 
lines,  if  they  do  not  wish 
to  emphasize  this  personal 
characteristic. 

Tall,  thin  people  should 
avoid  long    vertical   lines 
such   as   very   definite    or 
large  stripes,  for  these  lines 
accentuate   height.      This 
is  not  true  of  inconspicu- 
ous stripes.     They  should 
avoid   a  coat   line   which 
cuts   them   into  awkward 
lengths      Remember  the 
Greek  law:    When  two 
lines  are  in  good  relation  to  each  other, 
the  shorter  comes  between  one-half   and 
two-thirds  of  the  longer  line. 


Courtesy  of  Mile  Jacqueline. 
Hat  inspired  by  a  bowl 
of  crocuses. 


Woman  as  Decoration  "  by  Emily  Burbank,  will  be  found  profitable  reading  in  this  connection. 


Page  Seventy-six 


DESIGN 


Tall,  thin  people  slimild 
avoid  narrow-chested  effects 
and  clothes  that  fit  too 
tightly. 

Everybody  should  beware 
of  too  conspicuous  plaids  and 
stripes  or  figured  materials. 
As  a  rule  do  not  combine 
large  figured  materials  with 
small  figured  materials.* 

Small  people,  when  se- 
lecting figured  goods  for  themselves, 
should  always  get  small  figured  materials, 
emphasizing  their  daintiness.  Note  this 
even  in  plain  stuffs,  as,  for  instance, 
how  a  narrow-ribbed  corduroy  suits  a 
small  person  better  than  a  wide-ribbed  one. 

Figured,    striped,    or    plaid    materials, 
which  approach  plain  material,  will  stand 


shoulders  give  one  an  ap- 
pearance of  being  taller  than 
sloping  shoulders,   and  the 
higher   the    waist    line   the 
greater  the  apparent  heighl. 
A  narrow  belt  makes  the 
waist    appear    smaller    and 
in  vogue  five  tl,ous,n„l  years     ^'^''Ser,  whereas  a  wide  girdle 
study  of  the  figures  at  the     gives   the   appearance  of  a 

MetropoHtan    Museum,    New   York,       ,  ,  ,        .  •   .       /-n 

will  show.  broader,   shorter   waist    (ii 


above  the  waist  line). 

Over-decoration  is  always  bad. 

Broken  line  eflPects  are  always  bad. 
(As,  for  example,  waists  and  skirts  with 
seemingly  no  connection.) 

A  continuation  of  waist  line  into  the 
skirt  is  good. 

Light  colors  near  the  face  are  good. 

When  one  striking  note  of  color  is  used 
more  trimming  than  those  in  which  the     (as  in  a  belt),  it  should  have  a  repetition 


designs  are  emphatically  decorative. 

Equal  or  nearly  equal  amounts  of  dark 
and  light  are  unsatisfactory  unless  they 
approach  an  "all-over"  tone. 


elsewhere   (as   in   a  touch  on  the   sleeve 
and  waist). 

41.  Sources  of  Designs.     Bearing    the 
foregoing  facts  in  mind,  we  may  draw  our 


When    other    things    are   equal,    square     inspiration  from  museums,  libraries,  things 
*  Never  mix  scale  in  design. 


SOURCES  OF  DESIGNS 


Page  Sevent;; 


in  nature,  or  from  any  source  that  appeals 
to  us,  and  start  our  design.     See  Fig.  101. 
Fig.  100  shows  us  how  _ 

Mile.    Jacqueline    found  -  ■'^  - 

her  inspiration  for  a  hat 
in  a  bowl  of  tulips.  As 
for  the  first  prize  evening 
dress  of  the  Times  Prize 
Contest  j or  Original  Amer- 
ican Designs,  made  by 
the  writer  and  shown  by 
Fig.  lO'-Z,  the  Times  has 
given  the  following  de- 
scription of  its  source. 

Whistlers  well-known  Nocturne 
furnished  the  inspiration  for  this 
evening  gown,  which  owes  its 
distinction  to  subtlety  of  color 
and  grace  of  line.  It  is,  untortu- 
natelj',  impossible  in  a  sketch  to 
do  justice  to  the  extraordinary 
feeling  for  color  which  the  de- 
signer has  shown  in  her  selection 
and  handling  of  materials,  be- 
cause she  has  obtained  her  effect 
by  using  semitransparent  color 
over  contrasting  color. 

She  has  secured  a  faithful  echo 
of  the  Nocturne's  blue-green, 
gray-brown  harmonies  by  laying 
pastel-blue  chiffon,  faintly  green 
tinged,  over  putty  color.  The 
girdle  is  in  a  deeper  green-blue 
and  its  Oriental  embroidery  is 
worked  out  in  blues  and  gold  and 
the  vivid  flame  color  of  which 
there  is  one  single  glint  in  the 
Whistler  picture. 

Another  note  of  blue  is  sounded 
in  the  necklace  of  wooden  beads, 
the  smaller  beads  catching  up  the 
wing  shoulder  draperies. 


M: 


^''   - 


Fig.  102.- 
spired   by 


The  waist  made  for  the 
Ladies'    Home    Journal, 
shown    in    Fig.  103,  was 
suggested  by  the  Lily  of  the  Valley.     Fig. 
99,    Pattern   No.    8082,    in   the  Criterion, 

vusfoi'tleThirTj 


was  adapted  from  an  Arizona  pine,  and 
Fig.  99,  Pattern  No.  8079,  from  a  Hopi 
Indian  woman's  dress. 

If  the  designer's  imag- 
ination needs  stimulating 
to  get  away  from  the 
commonplace,  see  what 
music  or  poetry  will  do 
to  help.  Notice  how,~\ 
when  either  are  sad,  one 
thinks  in  subdued  grays 
and  violets  and  dull  blues; 
when  they  are  joyous, 
pinks,  yellows  and  less 
somber  colors  come  into 
one's  mind.* 

The  designer  has  such 
an  immense  store-house 
from  which  to  draw  that, 
when  his  eyes  are  once 
opened  to  the  endless 
treasures  that  are  wait- 
ing to  inspire  him,  his 
world  is  as  full  of  wonders 
as  the  vaulted  chambers 
of  the  Forty  Thieves,  or 
the  untold  treasures  in 
the  cavern  of  Aladdin. 

Appreciation  is  needful 
and  it  is  necessary  to 
gain  this  love  and  under- 
standing of  the  beautiful 
which  really  comprises 
what  we  call  taste.  We 
should  know  something 
of  the  art  of  the  past 
as  well  as  the  costumes 
of  these  periods,  so  rich 
in  material  is  that  of  the 
Egyptians,  Greeks,  Ro- 
mans, Assyrians,  and  Byzantines,  as 
well   as   that  of   the  cruder  times   of  the 

)y  of  life;    those  which  announce  catastrophe;    gowns  that  weep; 


Design  toi  .in  e\enmg  dress  m- 
'A   Nocturne     in  Tate  Galleiy 
by  ^^hlstler. 


Page  Seventy-eight 


DESIGN 


Gauls  and  Franks.  Beginning  with  the 
French  costumes  of  the  fifth  century 
and  the  English  after  the  Norman  Con- 
quest in  the  eleventh  century,  we  come 
down  the  centuries  with  a  wonderful  un- 
folding of  both  beau- 
ty and  eccentricity  of 
design. 

There  are  many 
wonderful  costume 
books  that  may  be 
consulted  by  the 
designer  with  both 
enjoyment  and  profit. 
A  fairly  compre- 
hensive list  of  these 
will  be  found  on 
pages  127  and  128. 

42.  Hats.— When 
seen  from  the  si(U>, 
the  lines  of  the  crown 
of  the  hat  should  ni)t 
extend  beyond  the 
line  of  the  forehead 
nor  beyond  the  hair 
in  the  back.  If  the 
hair  extends  far  in 
the  back,  the  hat 
should  come  between 
the  head  and  end  of 
the  hair  in  order  proj)- 
erly  to  balance  willi 
the  spinal  colunm. 

People  with  small 
or  narrow  faces 
require  smaller  hats  than  those  with 
large  faces,  to  whom  larger  hat.s  are 
becoming.  Care  should  be  taken  not  to 
accentuate  undesirable  lines  or  features 
by  too  strong  repetition  or  opposition. 
Try  rather  to  neutralize  such. 

The  milliner's  problem  is  allied  to  that 


Green  anil  wlii 
uf  Uie 


of  the  sculptor  in  so  much  as  the  effect 
is  to  be  viewed  from  every  side  and,  ac- 
cording to  Beau  Brummel,  the  most 
important  part  of  a  woman's  hat  is  the 
back.  Beside  this,  the  laws  of  propor- 
tion demand  that  we 
consider  not  alone 
the  relation  of  the 
hat  to  the  head,  but 
also  the  relation  of 
the  head  and  hat  to 
the  entire  figure. 
(For  illustration, 
headgear  too  large 
for  the  figure  gives 
a  chimsy,  awkward 
appearance.) 

Thus,  no  matter 
what  fashion  decrees, 
the  law  of  proper 
proportions  for  every 
individnal  should  be 
sought  out  and 
ol)eyed,  even  if  it 
brings  about  a  dis- 
iigreement  with  the 
pre\-ailing  modes. 

43.  Designing 
Hats. -The  height 
of  any  hat,  generally 
speaking,  should  not 
be  more  than  three- 
((uarters  the  depth  of 
the  face.  (That  is, 
the  length  of  the  face 
from  the  chin  to  the  eyebrows.)  The 
greatest  width  of  a  wide  hat  should  not 
exceed  three  times  the  width  of  the 
wearer's  face,  including  the  ears  and  the 
hair  at  the  sides  of  the  head.  The  greater 
width  is  often  at  the  left  side. 

The  crown  of  a  hat  is  very  important 


DESIGNING  HATS 


Page  Seventy-nine 


and  must  appear  to  cover  the  head  and 
also  any  puffs  of  hair.  People  with  large 
heads  should 
not  wear  hats 
with  small 
crowns.  On  the 
other  hand, 
people  with 
long,  thin  faces, 
and  plainly 
arranged  hair 
should  not  wear 
hats  with 
crowns  wider 
than  the  width 
of  their  faces 
and  hair.  If  we 
are  ever  to 
overcome  our 
bromidic  ten- 
dency in  dress, 
we  shall  have 
to  cultivate  an 
appreciation  of 
personality  and 
character  and 
become  so  in- 
terested in  type 
that  we  will 
resist  our  hith- 
erto sheep-like 
tendency  to 
follow     the 

modes,  even  when  they  distort  and  cari- 
cature us. 

The  designs  shown  in  Fig.  104  were 
made  by  Kelly  for  the  Globe.  In  designing 
we  must  get  away  from  the  consideration 

Scale  must  be  considered  in  the  combination  of  textures,  for  instance  crystal  bugles  and  pearl  trimming 
that  could  be  successfully  combined  with  delicate  chiffons  or  silk  %\ould  be  wholly  inappropriate  with  serge,  while  an 
Indian  bead  ornament  that  would  be  suitable  with  the  serge  would  be  out  of  place  with  the  chiffon.  Fluffy  chiffon  and 
lacy  things  or  baby  pinks  or  blues  are  out  of  place  with  tailored  or  mannish  things.  These  points  should  be  given 
serious  consideration  in  connection  with  such  accessories  as  parasols,  hats,  shoes,  gloves,  jewelry  and  dress  trimmings. 

Some  books  that  bear  directly  on  designing  are  Principles  of  Correct  Dress  by  Florence  Hull  Winterburn,  Color  Harmo- 
nies in  Dress  by  G.  A.  Audsley,  What  Dress  Makes  of  Us  by  Dorothy  Quigley,  Textile  and  Costume  Designing  by  Ellisworth. 


:ic..  10-4.— Drawi 


of  clothes  as  studies  in  the  flat  and  must 
aim  to  make  them  please  from  every 
side.  At  the 
same  time  we 
must  not  lose 
sight  of  unity 
and  must  never 
let  distracting 
details  interfere 
with  the  centre 
of  interest 
which  is  usually 
the  head.  In 
other  words,  we 
should  aim  to 
make  'persojiality 
dominate  the 
clothes. 

For  a  most 
telling  illustra- 
lion  of  this 
last  point, 
study  the  paint- 
ings of  Rem- 
brandt. Note 
how  all  his 
wonderfully 
thought-out 
textures  and 
tones  of  gar- 
ments are  made 
subservient 
to  his  char- 
acterization,  how  all  these  lead  up  to  the 
head  and  face  and  seem  arranged  to  per- 
fectly reveal  the  individuality  of  the 
sitter,  his  occupation,  his  walk  in  life,  and 
his  inmost  character. 


n  which  wash  pencil,  crayon  pencil  and  pen 
and  ink  are  combined 


rourttsy  of  \  'ague.  Nete  ] 
From  a  color  illustration  hy  George  Lepape. 


THE  FASHION  SILHOUETTE 


CHAPTER  SIX 


THE  FASHION  SILHOUETTE 


Fig.  105.— The  gorget. 


44.  Value  of  the  Silhouette.— The  Sil- 
houette is  the  foundation  of  all  fashions, 
and  it  is  most  interesting  to  study  its 
varied  aspect  through  the  centuries.  Taken 
in  a  literal  sense,  it  so  simplifies  the  cos- 
tumes of  the  period 
that  the  many  errors 
now  seen  in  the  cos- 
tume world  are  un- 
necessary to  even  the 
novice.  Much  less 
necessary  are  the  glar- 
ing mistakes  we  now 
see  in  print  in  regard 
to  Moyen  Age  and  Renaissance  costumes, 
as  well  as  those  of  the  eighteenth  and 
nineteenth  centuries,  that  period  of  much 
uncertainty  about  the  hoop  and  Empire, 
the  crinoline  and  bustle.  For 
this  reason  it  seems  advantage- 
ous, as  well  as  interesting,  to 
become  thoroughly  familiar  with 
costume  silhouettes  of  all  ages. 

The  silhouette  classifies,  sim- 
plifies, and  so  condenses  details 
that  both  time  and  trouble  are 
saved.  Curiously  enough,  this 
saving  is  what  its  name  sig- 
nifies, as  it  is  taken  from  the 
name  of  Etienne  de  Silhouette, 
Minister  of  Finance  to  France 


Fig.  107.— The 
wimple. 


Fig.  106.— XV  Century 
horned  head-dress. 


in  1759,  whose  public  economy  in  trying     wimph 

to  avert  national  bankruptcy  during  the     earlier  headdress  had  been  followed  by  the 


centuries  (the  tenth  and  eleventh  were 
so  nearly  like  the  twelfth  and  thirteenth 
that  drawings  are  omitted) . 
The  effect  is  of  everything 
hung  from  the  shoulder 
and  all  garments  rather 
loose.  The  head  was  usually 
more  or  less  bound  or  wrap- 
ped around,  though  at 
certain  times  in  certain 
localities  the  hair  was  worn 
in  long  braids.  The  four- 
teenth century  shows  the 
innovation  of  scallops,  the 
fifteenth  the  increased  length  of  hats  and 
shoes,  but  in  spite  of  these  touches  all 
belong  to  the  Moyen  Age,  to  things  that 
are  Gothic. 

It  is  interesting  to  see  these 
clothes  so  beautifully  described 
in  the  Gothic  Tapestries  and 
illuminated  books  of  the  time 
and  the  effigies  in  churches. 
See  Fig.  108.  In  the  eleventh 
century  the  wimple  was  wound 
around  the  head,  not  allowing 
the  hair  to  show;  about  a 
hundred  years  later  came  the 
fashion  of  the  chin  band  and 
forehead-strap.  See  Fig.  107. 
The  hair  was  still  hidden  by  the 
A  hundred  years  later  and  this 


reign  of   Louis   XV  caused   his   name  to 
be  given  to  things  ostensibly  economical. 

45.  Twelfth  to  Fifteenth  Centuries.— 
To  begin  with,  let  us  glance  at  Fig.  110, 
starting  with  the  twelfth  and  thirteenth 


gorget — a  piece  of  linen  wrapped  about 
the  neck  halfway  framing  the  face.  See 
Fig.  105.  Around  the  wimple  was  some- 
times tied  a  silk  band  called  a  snood.  The 
gown  was  still  long  and  loose  at  the  waist 


*  This  chapter  is  reprinted  through  courtesy  of  the  New  York  Globe. 


Page  Eighty-four 


THE  FASHION  SILHOUETTE 


-ShowiiiK  the  Iiuuppclanclc  or  XV  Century  rolie.     The  Giving  of  the  Rose,  a  Golhic  dec 
tappslry  at  Mctropniitan  Mtispiini. 


Willi    soincliiiu's    a    fiirdlc,     ri'iii; 
unlil  llir  fil'li-ciilli  cciiliiry. 

46.  Religious  Orders.  A  i)ii 
toiidi  of  Ihi.s  early  cosIuiik'  may 
today  in  the  dress  of  the  nuns  and  .sisters. 
The  Dominican  nuns  wear  practically 
the  same  garb  as  when  their  order  was 
instituted  by  Saint  Dominic  in  121 S, 
including  the  rosary,  which  was  his  in- 
novation. Many  rehgious  orders  were 
founded  in  the  eleventh,  twelfth,  lliir- 
teenth,    and    fourteenth    centuries  as,   for 


so     cxaMiplc,   the  Sisterhood  of  the  Annunci- 
ation al  Bourges  by  St.  Jeanne  de  Valois, 
|ue     (hnighter  of  Louis  XI  of  France.     Today 
led      I  hey  hiiiig  lo  us  the  legend,  beauty  and 
•rs.      romance  of  tho.se  dark  ages.     They  breathe 
castles,   crusades,   monasteries,   and   con- 
vents. 

In  the  fifteenth  century,  as  the  pointed 
arches  of  tlie  Gothic  architecture  grew 
more  pointed,  the  head  covering  or  hen- 
luns  (see  Figs.  106  and  110)  as  well  as 
the   shoes  followed   suit,   so   that   in   this 


c  J 


SIXTEENTH  CENTURY 

century  came  the  high-water  mark  of 
extremes.  To  this  day  we  find  left  over 
traces  of  these  headdresses  in  some  of  the 
costumes  of  the 

peasants  in  re-  ^^41*^. 

mote  distiids  on  T^'"'^^^ 

the  continent.  s'        ^ 

47.  Sixteenth 
Century.— The 
sixteenth  cen- 
tury found 
great  changes, 
on  sea  and  land. 
Printing  had 
been  invented, 
America  had 
been  discovered 
and  the  first 
watches  made. 
The  silhouette 
was  greatly 
changed.  The 
Renaissance 
changed  the 
architecture  of 
dress  as  well 
as  of  every- 
thing else.  Al- 
brecht  Diirer 
has  left  us 
wonderf  u' 
contemporary 
sketches  of  the 
early  part  of 
this  century, 
the  originals  of 
which  are  in 
Nuremberg,  see 
Fig.  109. 

We  are  all  familiar  with  the  slashed 
sleeves  of  Henry  VIH  and  his  queens 
(1509-1547)  immortalized  in  the  portraits 


Page  Eighty-five 

by  Hans  Holbein.     There  was  a  stiffening 
of  the  figure  and  a  tendency  toward  the 
smaller  waistline  in  the  sixteenth  century. 
-   .  It  might   be 

well   to   say 
:  -  here  that  in  the 

twelfth  century 
lacing    is    sup- 
posed  to  have 
•    ^  \  come  in.    Cal- 

throp  tells  us 
in  his  history 
of  English 
Costume,  "Not 
'\  that  the  lacing 

was  very  tight, 
but  it  com- 
menced the 
habit  and  the 
habit  begat  the 
harm,  and  the 
thing  grew  un- 
til it  arrived 
finally  at  the 
buckram, 
square-built, 
cardboard-and- 
tissue  figure 
which  titters 
and  totters 
through  the 
Elizabethan 
era."  Up  to  the 
fifteenth  cen- 
tury is  notice- 
able a  sense  of 
looseness,  of 
everything 
being  more  or 
less  supported  from  the  shoulders,  giving 
the  straight  lines  of  the  middle  ages. 
The   fifteenth    century    was    transitional; 


Courtesy  of  Art  Student  Magazine. 
Fig.  109. — Late  XV  Century  costume  drawing  by  Albrecht  Diirer. 


Page  Eighty-six 


THE  FASHION  SILHOUETTE 


m^u 


Fig.  110. — How  the  different  centuries  affected  the  fashion  silhouette. 


Draum  by  Inez  Casseau. 


after  that  the  tight,  long  waists  and 
wide  skirts  came  to  stay  until  the  nine- 
teenth century  brought  in  the  Empire 
style. 

48.  Seventeenth  and  Eighteenth  Cen- 
turies.—  The  Eliza- 
bethan high  collar  was 
the  forerunner  of  the 
Charles  I  (1625-1649) 
flat  collar  and  cuffs 
of  which  the  Crom- 
wellian  period  (1649- 
1600)  was  a  simplifica- 
tion. The  drawings 
of  Hollar  gi^■e  excel- 
lent illustrations  of 
these.  The  Quaker 
dress  is  the  survival 
of  the  costume  of 
Charles  II  period 
(1660-1085),  although 
the  hat  is  minus  the 
feather — plain  linen 
takes  the  place  of 
lace.  The  shoes  arc  the 
same,  but  without  the 
ribbon  or  roses,  really 
similar   in   everj'   way 


Fig.  111. — Early  XVI  Century  fashion  dra^\'ing  by 
Hans  Holbein. 


women  of  that  day.  The  Puritans  and 
Pilgrims  both  are  distinguished  by  the 
costumes  prevalent  at  the  time  they  were 
organized  (period  of  James  I,  1603-1625, 
and  Charles  I,  1625-1649,  of  England). 

The  portrait  painters 
have  done  nobly  in 
preserving  for  us  the 
fashions  of  the  times 
through  the  costumes 
worn  by  their  distin- 
guished sitters.  Such 
men  as  Velasquez,  Van 
Dyck,  and  Rubens  in 
the  seventeenth  cen- 
tury, and  in  the  eigh- 
teenth Watteau, 
Fragonard,  Nattier, 
Ronuiey,  Gainsborough, 
Lawrence,  Raeburn, 
and  Sir  Joshua  Rey- 
nolds have  left  us 
valuable  documents. 

Thus  we  pass 
through  the  sixteenth 
and  part  of  the  seven- 
teenth  centuries, 
leaving  the  time  of  the 


with    the    extravagance    eliminated    and  Renaissance  for  the  period  of  the  Louis  of 

simplicity    emphasized.     The  beaver  hat  France.     The    stately   dignity   and   truly 

and   hood   of  the  Quaker,  then  called  the  roya'  magnificence  of  Louis  XIV  was  fol- 

Frcnch    hood,    were    both    worn    by  the  lowed  by  the  less  formal  but   luxurious 


NINETEENTH  CENTURY 


Page  Eighty-seven 


^Mi 


rococo  period  of  Louis  XV  (1723-1774), 
when  Pompadour  and  du  Barry  set  the 
styles  in  the  Parisian  world  of  fashion. 
Then  followed  the  reappearance  of  the 
hoop  and  the  more  extreme  though  re- 
fined attitude  toward  dress  during  the 
reign  of  Louis  XVI  and  Marie  Antoinette. 
In  England  at  this  time  George  III  was 
reigning  (1760-1820)  and  the  Shakers 
came  to  this  country 
wearing  what  con- 
stitutes their  cos- 
tume to-day  —  the 
wide,  pleated  skirt, 
bonnet  and  apron 
of  the  English  work- 
ing class. 

49.  Nineteenth 
Century.  — The 
third  great  change 
in  the  silhouette  did 
not  come  until  the 
Directorate  in  1795, 
so  that  the  early 
nineteenth    century 


Courtesy  of  London  Graphic. 
12. 

the  classic  revival  of  the  Greek  and 
Roman,  modified  to  suit  the  climate  and 
epoch.  This  revival  was  the  natural  out- 
come of  the  interest  people  were  taking 
at  that  time  in  the  restoration  v/ork  of 
the  buried  Pompeian  cities,  and  one 
sees  in  the  Empire  style  the  classic  type 
emphasized.  It  was  an  endeavor  for 
something  different,  something  essentially 
new,  for  anything 
suggesting  the 
former  royalty  was 
frowned  upon  by 
Napoleon.  It  is  in- 
teresting to  note 
that  it  was  back  to 
this  quaint  period 
that  Kate  Green- 
away  (1846-1901) 
loved  to  go  for  in- 
spiration. It  was 
she  who  revived 
these  costumes  of 
the  beginning  of  the 
nineteenth  century, 


Pig.  113. — Quaint  styles  of  Kate  Greenaway. 

found  the  narrow  skirts  and  short  waists  and  it  is  truthfully  said  in  this  style,  made 

conspicuous.     See  first  silhouette  of  Fig.  still  more  beautiful  by  her  naive  touch,  she 

112.   Jacques  Louis  David,  the  court  painter  did  dress,  and  still  dresses,  the  children  of 

of  Napoleon,   was   a  strong  influence  in  two  continents.     See  Figs.  113  and  22. 


Page  Eighty-eight 

We  have  left  now  the  hoop  of  the 
eighteenth  century,  and  have  come  to 
the  nineteenth  century  with  its  Empire 
and  charming  1830  costume,  which  always 
makes  one  think  of  nosegays  and  old- 
fashioned  valentines  (see  Fig.  112)  and 
the  crinoline  of  1840,  which  made  the 
skirt  grow  wider  until  1864.  (To  get  the 
atmosphere  of  this  time,  look  at  George 
Du  Maurier's  illustrations  of  Owen  Mere- 
dith's "Lucile."')  Fashion  then  took  a 
turn  and  the  skirt  began  in  1865  to  grow 
narrower  until  in  the  winter  of  1869-1870 
the  bustle  and  the  draped  skirts  appeared. 
In  this  one  century,  therefore,  with  its 
narrow  skirts,  its  bell  skirts,  its  wide 
skirts,  its  bustles,  and  its  draped  skirts, 
there  were  really  many  more  definite 
changes  than  in  the  ten  centuries  of  sil- 
houettes we  have  been  examining. 

While  speaking  of  skirts,  small  mention 
has  been  made  of  sleeves,   but  they  sil- 


THE  FASHION  SILHOUETTE 

houette  quite  as  well  as  the  other  parts 
of  the  costume,  with  even  the  added  in- 
terest of  the  fact  that  down  through  the 
centuries  the  sleeves  of  men  and  women 
were  very  much  alike,  no  bigger  no 
smaller,  until  the  nineteenth  century,  when 
the  leg-of-mutton  sleeve  was  affected  also 
by  men.  That  seems  to  have  been,  how- 
ever, the  time  of  emancipation,  for  then 
men's  sleeves  became  small  and  have  re- 
mained so  ever  since. 

The  thirty  beautiful  little  period  dolls 
in  the  Metropolitan  Museum  illustrate 
how  truly  the  silhouette  has  kept  for  us 
the  fleeting  shadow  of  the  passing  cen- 
turies. Let  us  then  not  deny  or  push 
aside  the  silhouette  as  of  small  importance. 
Historically  it  is  valuable,  and  the  paths 
it  leads  us  through  in  the  study  of  cos- 
tume are  full  of  beauty  and  varied  interest. 
It  is  witii  the  silhouette  in  mind  that  we 
should  observe  every  fashion. 


mHM 


Drawn  by  Maroanl  CaUerheai. 


How  different  centuries  have  affected  the  silhouette  of  men. 


PERIOD  FABRIC  DESIGN 

CHAPTER         SEVEN 


CHAPTER  SEVEN 


PERIOD  FABRIC  DESIGN 


50.  Primitive  Design. — Primitive  de- 
sign, often  so  fresh  and  simple  in  treat- 
ment and  character,  does  not  differ  much 
in  units.  The  United  States  Government 
pubHshed  in  1894  a  report  that  tlie  results 
of  its  researches  showed 
that  the  sanje  swasticka 
used  in  prehistoric  America 
had  also  been  found  in 
India,  Eastern  Turkestan, 
Northern  Europe,  Southern 
Europe,  Asia  Minor, 
Greece,  Rome,  Northern 
Africa  and  Byzantium.  So 
much  symbolic  significance 
is  often  attached,  or  some 
strict  religious  meaning, 
that  design  is  a  deep  and 
interesting  subject  from  an 
ethnological  point  of  view, 
but  "simple  pictorial  ex- 
pressions are  of  world 
usage  and  are  not  suffici- 
ently intricate  to  consti- 
tute original  thought." 
In  these  the  student  of 
design,  however,  can  find 
splendid  motives  for  mod- 
ern treatment.  See  Fig.  114.  This  ma- 
terial was  designed  from  a  unit  on  an 
Indian  basket. 

51.  Influence  in  Design. — We  know 
that  the  early  civilized  races  had  inter- 
course, and  we  see  the  influence  of  this 
in  their  designs.  We  find  Greek  influence 
in  the  art  of  China,  and  for  hundreds 
of  years  B.C.  the  arts  of  Assyrians,  Egyp- 
tians,  and   Persians   were   allied   Ihrciigli 


and  designed  by  G.  Rothscln 
Fig.  114. — Design  motive  from  Indian 
basket. 


wars    and    conquests,    and    their    designs 
were  often  similar. 

The  affinity  between  the  Art  of  India 
and  Japan  is  close  on  account  of  Bud- 
dhism, which  exercises  a  strong  influence 
over  both  peoples.  The 
Art  of  Japan  and  China 
is  also  somewhat  similar; 
indeed,  at  times  the  dif- 
ferences are  difficult  to 
determine.  The  Japanese 
have  a  greater  love  for 
detail  and  do  not  con- 
entionalize  in  as  broad 
a  way  as  the  Chinese, 
but  many  of  their  forms 
are  identical.  It  is  inter- 
esting to  know  that,  where 
this  is  the  case,  the  in- 
fluence can  be  traced  to 
India. 

The  Japanese  in  their 
designs  show  a  great  love 
for  nature — flowers,  moun- 
tains, waves,  dragons, 
tortoises,  etc.,  and  the 
method  used  is  usually 
picturesque  (in  spite  of 
its  interesting  conventionality)  instead  of 
formal. 

52.  Early  Fabrics  and  Designs. — In 
outlining  period  fabric  design,  Egypt  must 
first  be  mentioned,  where  weaving  was 
known  3000  b.c.  Examples  of  ancient 
fabrics  dating  as  far  back  as  1000  b.c. 
can  be  seen  in  the  Louvre,  Paris.  While 
we  know  that  checkered  rugs  were  woven, 
we   find   that   garments   during   the   Old 


»f 


Page  Ninety-two 


PERIOD  FABRIC  DESIGN 


Fig.   115. — Greek  Doric 
costume  from  Hope. 


Kingdom,  Dark  Ages, 
Middle  Kingdom, 
Period  of  Shepherd 
Kings,  and  New 
Empire,  i.e.,  from 
2980  B.C.  until  945 
B.C.,  were  usuallj' 
made  of  linen  and 
wool,  woven  by  hand. 
While  the  dyes  used 
were  principally  red, 
blue,  and  saffron, 
white  seems  to  have 
been  most  worn.  The 
material  was  plain, 
the  decoration,  if  any, 
being  embroidery  at 
the  hem.  ^Yhile  fond 
of  ornamentation,  the 
l)eople  during  this 
time  .seem  to  have 
depended  on  their 


wigs  and  headdresses,  collars,  hanging 
straps,  armlets,  and  leg  decorations, 
and  not  to  have  introduced  figures  in 
their  weaves.     See  Fig.  116. 

The  Copts  or  Egyptian  Christians, 
like  the  Greeks  and  Romans,  wore 
wonderfully  woven  or  embroidered 
bands  on  their  garments,  the  color 
and  designs  of  which  are  most  inter- 
esting. Good  examples  are  to  be  seen 
in  the  Coptic  Room,  Metropolitan 
INIuseum  of  Art,  and  in  the  Cooper 
Union  jMuseimi. 

53.  Greek  Dress.— The  Greeks  used 
wool  linen,  and  silk.  Linen  and  silk 
were  used  for  the  more  extravagant 
costumes  of  the  later  period,  though 
they  had  cotton  in  small  quantities. 
Cotton  belonged  to  India;  it  did  not 
become   known    to   Europe   until   the 


invasion  of  Alexander  the  Great.  It  was 
too  expensive  for  large  garments  and  was 
a  deep  yellow  in  color. 

The  Doric  and  Ionic  chitons,  or  dress, 
and  the  himation,  or  cloak,  were  used  in 
different  colors.  Blue  and  Tyrian  purple 
as  well  as  red  and  yellow  were  popular. 
Different  borders  were  often  combined 
in  the  Greek  costume  with  an  all-over 
design.  See  Fig.  115.  The  designs  were 
frequently  emblems,  and  birds,  animals 
or  flowers.  The  garments  were  woven 
in  one  piece  which  was  complete  in  itself. 
The  long,  graceful  folds  of  this  single 
garment  produced  a  decorative  and  simple 
effect,  and  it  is  interesting  to  note  also 
the  different  effects  obtainable  by  chang- 
ing the  position  of  the  girdle.  This  was 
worn  at  the  waist  in  the  Archaic  period. 


1 G. — Costume  of  man  and  woman  of  Egypt  about  2500  B.C. 
from  Histoire  de  L'.\rt  Egyptian. 


ROMAN  DRESS 


Page  Ninety-three 


over  the  hips  in  the  Golden  Age,  and 
under  the  arms  at  the  last  period. 

Interesting  and  detailed  accounts  of 
Greek  costumes  may  be  found  in  Evans's 
Greek  Dress  and  Edith  Abraham's  Greek 
Dress;  good  illustrations  in  Hope's  Cos- 
tume of  the  Ancients. 

54.  Roman  Dress. — The  Romans  and 
Greeks  imported  much  material  from 
Babylonia.  Some  of  the  silk  is  described 
as  having  a  nap  on  both  sides  (velvet), 
and  as  gold,  scarlet  and  purple  in  color. 
The  Roman  women  wore  a  tunic,  a  stola 
(like  the  Grecian  chiton),  and  a  folla, 
which  corresponded  to  a  Roman  man's 
toga,  or  a  Grecian  woman's  himation. 
The  Roman  women  added  a  ruffle  to 
their  dress  which  was  often  elaborately 
decorated.  Silk  was  at  a  premium,  but 
was  frequently  mixed  in  weaving  with  wool 
or  linen.  With  the  exception  of  more 
elaboration,  the  fabrics  did  not  differ 
much  from  the  Grecian. 


Fig.  117. — Italian  XIV  Century  costumes  from  Jacq 


55.  Influ- 
ence of  the 
E  a  s  t .— 

Fabrics 
seem  always 
to  have 
drawn  their 
inspiration 
from  the 
East.  We 
fi  n  d  the 
Gauls  after 
the  conquest 
of  Caesar, 
55  B.C., 
adopting  a 
somewhat 
m  odified 
form  of  the 
Roman  cos- 
tume. The 
Franks  in 
taking  possession  of  Gaul  gradually  (from 
the  third  to  the  fifth  century  a.d.),  while 
they  did  not  part  with  their  costume  as 
a  whole,  the  women  retaining  their  veils 
for  some  ten  centuries,  adopted  the  Byzan- 
tine styles,  for  the  Eastern  influence  of 
the  Roman  Empire  continued  after  the 
arrival  of  the  Franks.  We  find  both  men 
and  women  in  the  ninth  and  tenth  and 
twelfth  centuries  wearing  stuffs  brought 
from  the  East,  even  after  the  art  of 
embroidery  became  generally  understood, 
and  tapestry  weaving  and  applique  work 
was  carried  on  in  Europe. 

56.  Weaving. — While  mechanical  weav- 
ing was  done  in  Egypt  2000  B.C.,  the  more 
complex  use  of  the  shuttles  by  which 
figures  were  produced  without  embroider- 
ing was  not  known  until  200  a.d.  It  was 
then  done  by  the  Syrian  weavers  in  the 


Fig.  118.— XIV  Century  parti-colored 
dresses — from  Jacquemin. 


Page  Ninety-four 


PERIOD  FABRIC  DESIGN 


Eastern  Roman  Empire. 
For  many  years  the  devel- 
opment of  weaving  was 
slow,  and  the  repeat  pat- 
terns were  of  the  simplest 
kind.  Ornamental  silks 
were  first  produced  in 
Europe  500  a.d.;  they 
were  Roman  and  B^'zantine 


to  the  twelfth  century. 
These  were  sometimes 
linked  together,  large  circles 


Fig.  120.— XVI  Century  trunk 
motive. 

The  design  consisting  of 
a  circle  or  square  frame 
developed  in  the  first  cen- 
tury; for  the  ne.\t  five 
hundred  years  circles  or 
squares,  sometimes  filled 
with  Persian  or  Syrian 
floral  detail,  persisted. 
This  same  design  was  used 
for  centuries  afterwards  for 
stained  glass. 

About  400  to  600  A.D. 
broken  circles  came  in,  the 
upper  and  lower  segments 
spreading  out  to  form 
bands.      Circles  continued 


being  joined  by  small  ones 
at  points  of  contact,  and 
the  patterns  often  becom- 
ing ciiiile  t'lal)orate.  The 
Saracenic  hexajiou  geomet- 


ricallj'  arranged  was  also 
used.  Up  to  the  thirteenth 
century  a  formal  arrange- 
ment was  often  followed, 
consisting  of  balanced 
groupings  of  birds,  beasts, 
and  men  placed  face  to 
face  or  back  to  back. 


Fig.  121.— XVIIandXVIH 
Century  scroll  motive. 


Fig.   1'2'2.— XIV  and  XV  Century 
unimal  arrangement. 

The  o^val  form  is  a 
form  of  design  in  which 
the  joining  circles  are 
brouglit  into  acute  juncture, 
forming  ovals.  This  design 
came  in  about  800  a.d., 
and  like  most  things  that 
were  pointed,  it  continued 
thruugli  the  Gothic  period. 

In  700  A.D.  Spain  was 
progressing  with  silk  weav- 
ing. About  this  time  also, 
merchants  from  Syria 
opened  establishments  in 
Paris.  In  800  a.d.,  the 
Daughters  of  Charlemagne 


USE  OF  GOLD  THREAD 


Ninety-five 


did  silk  weaving,  but  up  to  the  eleventh 
century  the  making  of  fine  fabrics  was 
practically  monopolized  by  Athens,  Thebes, 
Corinth,  and  Constantinople. 

No  great  extravagance  had  reached 
France  before 
this.  In  the 
tenth  century 
we  read  of  its 
king,  Charles 
the  Simple, 
possessing  but 
three  shirts 
In  the  four- 
teenth century 
Isabeau  de 
Baviere,  com- 
ing to  marry 
Charles  VI, 
was  thought  to 
be  showing  an 
extraordinary 
degree  of  lux- 
ury in  having 
three  dozen 
chemises  in 
her  trousseau. 

The  return  of  the  Crusaders  initiated 
the  nobility  of  France  into  the  luxury  of 
the  Orient. 

57.  Use  of  Gold  Thread. — Drawn  gold 
thread  was  not  used  in  early  fabrics,  but 
gold  leaf  on  paper  rolled  around  a  fine 
thread  of  silk  was  employed.  Sicilian 
fabrics  of  the  thirteenth  and  fourteenth 
centuries  frequently  show  a  purple  ground 
of  twilled  silk  with  birds  and  foliage 
formed  by  gold  thread  weft.  Saracenic 
or  Hispano-Moresque  fabrics  of  Spain  are 
distinguished  by  splendid  crimson  or  dark 
blue  conventional  patterns  of  silk  upon 
a  yellow  ground,  and  by  frequent  use  of 


Courtesy  ot  the  Metropolitan  Mnseum  of  Art 
Fig.  123. — Painting  by  Hans  Memling  of  Betrothal  of  Saint  Catherine 
showing  surcot  and  fabrics  used  in  XV  Century. 


strips  of  gilded  parchment  in  place  of 
rolled  gilt  thread.  Undoubtedly  through 
the  influence  of  the  Crusades,  the  Sicilian 
weavers  of  the  thirteenth  and  fourteenth 
centuries  produced  many  fabrics  enriched 
with  winged 
lions,  crosses, 
crowns,  rayed 
stars,  harts,  or 
birds,  linked 
together  with 
floriations  or 
armorial  bear- 
ings. See  Fig. 
117. 

58.  Parti- 
colored Dress. 
— The  same 
influence 
which  brought 
with  the  Per- 
pendicular 
Gothic  the 
introduction 
of  heraldic 
forms,  such  as 
shields,  crests 
and  badges,  found  women  of  rank  wearing 
parti-colored  dresses;  a  division  which 
practically  cut  the  figure  in  half,  the  right 
side  representing  the  arms  of  the  husband, 
the  left  that  of  the  lady's  own  family. 
See  Fig.  118. 

Late  in  1200  a.d.  this  character  of 
design  was  introduced  into  Northern  Italy. 
Genoa  adopted  much  that  was  Persian 
from  the  twelfth  to  the  seventeenth 
centuries,  and  in  the  fifteenth  century, 
when  Louis  XI  encouraged  the  art  of 
weaving  in  France  at  Tours,  and  later 
at  Lyons  under  Francis  I  (1515),  the 
Persian   and   Italian  fabrics   were  closely 


Page  Ninety-six 


PERIOD  FABRIC  DESIGN 


followed,  and  the  vase  pattern  was 
adopted. 

The  Oriental  character  of  design  in 
textiles  did  not  entirely  disappear  until 
the  seventeenth  century  when  the  gardens 
of  Versailles  and  the  Trianons  under 
Louis  XIV  inspired  the  use  of  European 
flora. 

59.  Classification  of  Fabric  Designs.— 
The  following  brief  classification  will  be 
found  helpful  in  placing  fabric  designs 
in  their  proper  periods. 

Twelfth  and  thirteenth  centuries,  for- 
mal arrangement.     See  Fig.  119. 

Fourteenth  and  fifteenth  centuries,  ani- 
mal figures.     See  Fig.  \'2'i. 

Sixteenth  and  seventeenth  centuries, 
trunk  motives.     See  Fig.  l'-20. 

Seventeenth  and  eighteenth  centuries, 
scroll  motives.     See  Fig.  l'-21. 

For  a  more  detailed  outline  we  can  refer 
to  that  given  by  Cliiford,  in  his  book  on 
Period  FurHi.shing.1,  in  conjunction  with 
his  well-chosen  illustrations. 

"I.  200-400  A.I).  The  development  of 
circle  and  geometric  frames,  sometimes  filled 
with  simple  floral,  bird  or  animal  forms. 

"II.  400-000  .\.D.  The  utilization  of 
broken  circles  spread  out  to  form  bands. 

"III.  GOO-IOOOa.d.  The  use  of  circles 
linked  by  smaller  circles,  with  ornaments 
inside  and  out,  developing  at  length  the 
ogival  form;    often  hexagon  framework. 

"IV.  1000-1;5.50a.d.  Repeated  parallel 
bands  or  ornamentation,  detached  details, 
patterns  animated  and  inanimated,  en- 
closed in  ogival  framing  and  combination 
circles  or  scale  patterns  as  well  as  geo- 
metric straight-line  framing.  ISOO-LWO 
introduced  features  of  design,  as  eagles, 
falcons,  etc. 


"V.  1350-1500.  A  characteristic  design 
of  the  fifteenth  century  was  the  use  of 
reversed  curves  so  arranged  that  they 
made  frames.  (The  panels  of  Jeanne 
d'Arc,  painted  by  Boutet  de  Monvel  and 
owned  by  Senator  William  A.  Clark,  give 
very  fine  illustrations  of  the  textures  used 
at  this  period;  they  may  be  seen  certain 
days  upon  wTitten  request.  Both  the 
surcot,  which  was  now  gradually  disap- 
pearing, and  the  houppelcmde,  or  robe, 
which  was  appearing,  lent  themselves 
magnificently  to  these  fabrics.) 

"This  form  utilized  the  Hogarth  line  of 
beauty.  Another  form  was  the  inter- 
section of  a  Hogarth  panel  by  two  bold 
curving  stems  coming  up  through  the 
bottom  of  the  panel  and  capped  by  a  cone 
pineapple  or  fruit  device. 

"Still  another  showed  a  .serpentine  stem 
or  winding  trunk  which  ran  through  the 
Hogarth  pattern  in  the  midst  of  a  variety 
of  botanical  forms.     See  Fig.  123. 

"VI.  1500.  Designs  adopted  a  free  treat- 
ment. The  plans  of  previous  centuries 
were  combined  and  elaborated.  Orna- 
ment was  arranged  with  ogival  frames, 
springing  out  of  the  frame  to  which  it 
seems  to  be  attached.  Interlacing  of 
two  frames  of  which  one  is  ogival.  Ogival 
frames  of  leaves  and  flowers  enclosing  a 
large  concentric  pattern.  Elaborate  ogival 
frames  caught  together  by  crowns.  The 
use  of  vases,  urns,  crowns  and  animals 
became  common. 

"VII.  1()00-1700.  During  this  time  we 
find  an  elaborate  use  of  P^uropean  garden 
flowers  instead  of  purely  tropical  Persian 
verdure,  following,  however,  the  general 
ogival  form  arrangement. 

"  VIII.  1700.  Pictorial  tapestries  and 
prints.     Pure  Renaissance  styles,  or  devel- 


SIXTEENTH  AND  SEVENTEENTH  CENTURIES  Page  Ninety-seven 


opments  of  that  style.  Louis  XIV  or  XV. 
Oriental  characteristics  of  either  the 
French  or  English  styles  as  shown  in  the 
scenic  bits  of  Chinese  or  East  Indian  life. 
Louis  XVI  classic  revival  examples  as  ex- 
pressed by  the  late  Louis  XVI. 

"Directoire  or  Transition  period  in 
France  and  the  Adam  school  in  England. 
This  period  overlapped  into  1800  and  was 
generally  adopted  in  American  colonies. 

"IX.  Empire  and  Empire  influence." 

60.  The  Sixteenth  and  Seventeenth 
Centuries. — In  the  sixteenth  and  seven- 
teenth centuries,  three  distinct  types  of 
design  were  seen,  the  Renaissance,  the 
Oriental  Renaissance  and  the  European 
floral.  The  Renaissance  brought  a  change 
from  the  accustomed  following  of  Persian 
Oriental  design,  and  such  motifs  as  the  Per- 
sian rose  and  pink,  the  Rhodian  lily  and 
pomegranate  gave  way  to  such  Egyptian, 
Roman,  and  Greek  motifs  as  the  Anthe- 
mion,  Acanthus,  Lotus  and  Iris.  The 
second  or  Oriental  Renaissance  was  really 
Portuguese-Persian,  or  the  spirit  of  the 
Renaissance  influencing  the  East  through 
commercialism.  The  third  or  European 
flora  was  developed  about  1650  during 
the  reign  of  Louis  XIV,  when  the  ferns  and 
flora  of  the  Royal  Gardens  came  into  use 
as  motifs. 

In  studying  the  periods  it  must  not  be 
overlooked  that  the  Dutch  brought  East 
Indian  types  into  England  under  Elizabeth, 
the  Jacobean,  and  Queen  Anne  reigns, 
and  that  the  influence  of  China  was 
strong  in  France  during  the  reign  of 
Louis  XV,  and  in  England  under  the 
Georges.  The  East  India  Company  in 
1609  reserved  all  strange  fowls  and  beasts 
to   be   found    there,    "for   the    Council." 


This  brought  the  parrot  and  cockatoo  in 
wicker  cages,  and  similar  motifs,  much  into 
evidence  in  the  embroideries  and  printed 
fabrics,  so  full  then  of  animal  and  floral 
design  of  Eastern  character.  The  British 
rule  in  India  created  a  demand  as  early 
as  1760  for  Indian  goods,  and  India  cot- 
tons, dimity,  and  gauze  were  used  in  both 
England  and  France. 

61.  Paris  Becomes  the  Centre  of 
Fashion. — For  centuries  Italy  was  the 
centre  from  which  foreign  courts  adopted 
both  fashions  in  clothes  and  customs. 
It  was  not  until  the  seventeenth  century 
that  Paris  became  the  centre  and  home  of 
taste.  Several  things  had  much  to  do 
with  bringing  this  about.  First,  a  great 
and  appreciative  impetus  was  given  in- 
dustry by  Colbert,  the  able  minister 
of  Louis  XIV.  Secondly,  at  this  time 
long  dresses  were  abandoned  and  the 
vogue  for  large  Italian  patterns  ceased. 
Thirdly,  the  discovery  of  a  way  around 
the  Cape  of  Good  Hope  had  much  to 
do  with  the  trade  in  silks  turning  from 
Italy  to  Asia. 

Under  Louis  XIV  artists  held  high  posi- 
tion; it  was  an  ambitious  period.  World 
forces,  conquests  and  statecraft,  as  well 
as  the  taste  of  Louise  de  la  Valliere,  Ma- 
dame de  Montespan,  Mile,  de  Fontanges 
and  Madame  de  Maintenon  influenced  the 
arts  of  the  time.  The  magnificent  gardens 
that  were  built,  besides  the  motifs  sug- 
gested by  European  floriculture,  brought 
in  festoons,  vases,  architectural  designs, 
etc.  It  was  under  this  king  and  his 
minister,  Colbert,  that  the  highest  achieve- 
ment in  lace  making  was  reached  in 
France.  Lace  is  supposed  to  have  been 
introduced  into  France  by  Catherine  de 
Medici,  wife  of  Henry  II,  in  1547.  ^ 


Page  Ninety-eiglit 


PERIOD  FABRIC  DESIGN 


On  the  other  hand,  the  arts  of  Louis 
XV  had  the  stimulus  of  social  life,  and 
were  full  of  ostentation  and  extravagance. 
We  find  much  less  symmetry  or  balance 
in  the  motifs,  which  were  shells,  feath- 
ers, ribbons,  knots,  garlands,  and  Chinese 
and  Japanese  fancies.  Pronounced  stripes 
were  affected  as  creations  of  ^Madame 
Pompadour,  and  many  charming  gowns 
were  made  of  the  flowered  silks  named 
for  this  favorite  of  the  King. 

62.  Period  of  Louis  XVI.— By  the  end 
of  the  eighteenth  century  heavy  materials 
had  fallen  from  favor  and  less  metallic 
effects  were  sought  in  weaving,  but 
oriental  foliation,  which  was  used  be- 
fore and  during  the  Renaissance,  again 
came  in. 

Under  Louis  XAT  the  designers  fol- 
lowed innumerable  paths  under  the  im- 
pulse of  capricious  fashion.  We  have 
Arabescjue  composition,  foliage,  flowers, 
figures,  landscapes,  country  scenes,  alle- 
gories and  Chinese  ornament. 

In  the  fabrics  we  find  stripes  and  rib- 
bons combinetl  with  flowers.  Stripes  were 
so  much  used  that  in  1788  it  was  said  that, 
"Everybody  in  the  king's  cabinet  looks 
like  a  zebra."  Unlike  the  Pompadour 
stripe,  the  Queen  Marie  Antoinette  stripes 
were  interwoven  with  flowers  and  orna- 
ments such  as  feathers,  medallions,  lyres, 
columns,  etc.  Marie  Antoinette  liked 
flowers,  the  pink,  the  tulip,  but  best  of 
all  the  rose,  and  the  impetus  she  gave  the 
production  of  lace  in  the  beginning  of 
her  reign  shows  the  influence  of  her  taste, 
which  is  everywhere  seen  in  the  entwined 
ribbons  and  garlands. 

63    Directoire  and  Empire  Designs.— 


The  Revolution,  1789-99,  brought  in 
simpler  materials;  cotton,  India  prints, 
and  lawn  were  used.  Colbert  had  put  a 
stop  to  their  use  in  former  years  because 
it  threatened  his  pet  silk  industrJ^ 

The  Directoire,  1795  to  18o/,  followed 
this  Revolution,  and  this  was  the  tran- 
sition period  between  the  classicism  of 
the  late  king  and  the  stronger  style  of 
the  Empire.  The  India  shawl — introduced 
after  the  Egyptian  campaign — was  much 
worn.  This  led  to  a  French  imitation  and 
then  to  the  Paisley  copy  made  in  Scotland, 
the  Persian  design  of  which  has  been  so 
popular. 

The  transition  period  was  largely  in 
combination  with  much  that  was  Egyp- 
tian in  character.  The  bee,  laurel  branch, 
wreath,  helmet ed  warriors,  etc.,  were  now 
used  as  motifs  and  stripes  were  still 
popular.  This  had  marked  influence  and 
effect  upon  laces  now  wholly  lacking  in 
freedom  of  design. 

The  costume  of  the  Empire  was  usually 
more  or  less  Oriental  in  ornamenta- 
tion, texture,  and  color.  Napoleon's  cam- 
paigns resulted  in  bringing  into  France 
the  accumulated  treasures  of  centuries, 
which  became  a  source  of  inspiration, 
and  left  a  characteristic  imprint  upon 
the  period. 

Fabric  design  reveals  much  of  the  his- 
tory and  atmosphere  of  each  century  and 
is  worthy  of  intelligent  study  and  con- 
sideration, not  only  by  students,  but  by 
all  who  wish  to  develop  their  knowledge 
and  appreciation  of  beauty. 

See  Die  Geivebe  Sammlung  des  Kvust- 
gewerbe  Museum  von  Julius  Lessing,  and 
Seidenweberei,  Otto  von  Funke. 


OUTLINE  OF  HISTORIC  COSTUME 

CHAPTER  EIGHT 


CHAPTER  EIGHT 


OUTLINE  OF  HISTORIC  COSTUME! 


History  and  Dress 

64.  Egyptian  Costume. — (a)  Men.  (1) 
Old  Kingdom,  4tli,  5th,  and  6th  Dynasties 
(2980-2475  B.C.) .  Memphis,  capital. 

Lower  classes  wore  a  belt  tied 
around  the  waist  with  hanging 
ends  down  the 
front  (see  Fig. 
127),  a  kilt-like 
loin  cloth  (see 
Fig.  129),  or  a 
skirt  apparently 
made  of  rushes 
(see  Fig.  128). 

In  the  5th 
Dynasty,  trian- 
gular erection 
came  in,  being 
temporarily 
adopted  by  the 
king  in  this  dy- 
nasty. See  Fig. 
124  of  Perneb, 
representing  an 
Egyptian  noble- 
man in  full  dress. 
Both  men  and 
women  shaved 
their  heads  and 
wore  wigs.  Men 
appear  to  have 
gone  nude  when 
engaged  in  stren- 
uous exercise. 

(2)  Dark 
Ages,  6th  to 
12th   Dynasty. 

No  change  in  costumf^  shown. 

(3)  Middle  Kingdom,  12th  and  13th 
Dynasties  (2160-1788  B.C.).   Thebes,  capital. 


Courtesy  of  MetropolUan  Museum. 
Fig.  12-1.  Fig.  125.  Fig.  126. 

Egyptian  costumes.     Showing  a  woman's  costume,  the  triangular 
erection  and  the  leopard  skin  worn  by  priests. 


Counesy  of  Metropolitan  Museum. 
Fig.  127.  Fig.  128.  Fig.  129. 

The  costumes  worn  by  men  in  Egypt  during  the  Old  Kingdom 

(2980-2475  B.C.). 


Skirts    became    longer     and     narrower, 

and     were    closed     in    front,     with     one 

side   lapping   over   the  other.      When   of 

transparent  material,    a  skirt  of 

thicker    material     in    the    shape 

of    the    short    kilt    of     the    Old 

Empire  was  worn 

underneath. 

(4)  Period  of 
Shepherd  Kings, 
13th  to  18th 
Dynasty.  Israel- 
ites came  down 
into  Egypt. 

No  change  in 
costume  shown. 

(5)  New  Em- 
pire, 18th,  19th 
and  20th  Dy- 
nasties (1580-945 
B.C.).  Thebes, 
capital. 

In  the  18th 
Dj^nasty  a  tunic 
was  sometimes 
added.  This  was 
open  on  the 
right  side  and 
had  a  short  left 
sleeve. 

Many  changes 
in  skirts  now 
took  place,  plait- 
ed  effects  be- 
came popular. 
See  Fig.  131. 
Cloaks    were 
worn  from  the  time  of  the  4th  Dynasty, 
but    became    generally    used    during  the 
Middle  Kingdom.     See  Fig.  130. 


Page  One  Hundred  Two 


OUTLINE  OF  HISTORIC  COSTUME 


Apron-like  decoration 
was  worn  from  the  4th  to 
the  20th  Dynasty.  Men 
were  clean  shaven,  and  wore 
wigs  and  false  beards.  Ker- 
chiefs were  often  used. 
Leopards'  skins  were  worn 
by  priests.     See  Fig.  126. 

(6)  Women.^iih  to  18th 
Dynasty. 

All,  with  the  exception  of 
some  servants  and  dancing 
girls,  wore.a  simple  costume 
from  bust  to  ankles,  very 
tight  without  folds,  some- 
times held  on  by  one, 
sometimes  by  two  shoulder 
straps,  and  sometimes  by 
a  necklace.  See  Fig.  125. 
Embroidery  was  frecjuently  used  on  borders 

In  the  18th  Dynasty 
the  dress  was  carried 
over  the  left  shoulder, 
plaits  became  popular, 
and  a  left  sleeve  was 
introduced.  In  the 
20th  Dynasty  a  thick 
under  dress  was  used. 
White  seens  to  have 
been  in  favor,  also  red, 
saffron,  and  blue. 

Both  men  and  wo- 
men wore  sandals  in 
the  street.  The  collar 
was  an  important  dec- 
oration and  was  made 
of  papyrus  decorated 
with  beads  or  embroi- 
dered in  wool. 

Bracelets  and  leg 
decorations  were 
largely  used.     These 


Coartcsu  of  Metropolitan  Muscutju 
30. — An  Egyptian  cloak. 


Courtesy  0/  MctrovoUlan  Museum. 
Fig.  131.— Flailed  effects  of  the  New  Empire 


were    of    metal    and    em- 
broidery. 

(c)  Emblems  or  Symbols. — 
Upper  Egyptian  crown, 
red. 

Lower  Egyptian  crown, 
white. 

AYhen  one  king  ruled 
both,  he  wore  a  combina- 
tion of  the  above. 

Lotus  signified  abun- 
dance. 

Globes  signified  eternal 
life. 

Vulture  signified  the  roy- 
alty of  a  queen. 

Asp  signified  the  kingly 
authority. 
Hanging   straps   indicated    authority. 

Reference  Books 

Bulletin  of  the  Met- 
ropolitan Museum  of 
Art,  Vol.  XI,  No.  11, 
for  Ancient  Egyptian 
Kerchiefs,  and  Tlie 
Dress  of  the  Ancient 
Egyptians,  both  pub- 
lished by  the  Metropol- 
itan INIuseum  of  Art; 
Prisse  d'Avennes,  Ilis- 
toire de  UArt  Egypt;  The 
Book  of  the  Dead,  fac- 
ahmlQcA  PapyrjisofAni, 
in  the  British  Museum; 
Wilkinson,  The  Ancient 
Egyptian;  Erman,  Life 
in  A  ncieni  Egypt,  Chap- 
terX;Breastf(l,.l»nV«< 
Times;  Racinct,  History 
of  Costume. 


GREEK  COSTUME 


Page  One  Hundred  Three 


History  and  Dress 
65.  Greek  Costume. —  (1) 
Pre  -  Hellenic  otherwise  called 
Minoan  or  Mycenoean  Age 
(2800-1200  B.C.).  See  Fig.  132. 
Men  wore  waist  cloth  with 
hanging  ends.  Women  wore 
tight-fitting  waists  and  flounced 
skirts.     See  Fig.  133. 

(2)  Homeric  or  Heroic  Age 
(1200  B.C.). 

Both  men  and  women  wore 
a  simplified  costume  not  unlike 
the  classic. 

Dorian  Invasion,  8th  century 
B.C.  Rise  of  Sparta,  inhabitants 
called  Dorians.  Rise  of  Allien  ■>, 
5th  century  B.C.,  inhabitants 
called  lonians. 

(3)  Classic  Period.    Costume 
of     Greek     men     and 
women  was  the  same 
except  that  of  the  men 
was  more  abbreviated. 

(a)  Chiton  or  dress. 

(6)  Himation  or 
cloak.     See  Fig.  135. 

(c)  The  chlamys  of 
short  coat  was  worn 
on  horseback.  The 
chiton  or  dress  was  of 
two  Icinds.  The  Doric 
chiton,  worn  by  the 
Dorians,  who  were  war- 
like and  interested 
primarily  in  the  phys- 
ical, made  of  heavy 
material  and  fell  in 
few  folds,  had  no 
sleeves,  see  Fig.  134.. 

The  Ionic  chiton, 
worn  by  the  lonians. 


of  Mctrinmhlan  Musaim. 
Flc.   l.'K>--('o.tii,nrnf 
M%c-cu;iMiiiii,u.. 


KS'-: 


Courtesy  0/  Metropolitan  Museum, 
133. — Costume  of  Mycensean  woman. 


a  people  fond  of  all  things  beau- 
tiful, made  of  finer  material,  fell 
in  many  and  finer  folds,  had 
sleeves.     See  Fig.  135. 

Girdle  was  worn  at  the  waist 
line  during  the  Archaic  period, 
sixth  century  B.C.  Statues  of 
people  of  this  century  adorn  the 
Acropolis.  This  was  the  elabo- 
rate period  when  cascades  of  ma- 
terial are  found  in  the  statues. 
Girdle  worn  over  the  hip  or 
below  the  waist  in  the  Golden 
Age.  This  was  sometimes  called 
the  Age  of  Pericles,  459-431  B.C. 
The  maidens  of  the  Parthenon 
frieze  are  of  this  time. 

Girdle  worn  under  the  arms 
during  the  last  period. 

Wool,  linen  and  silk  were 
used,  and  the  garments 
were  dyed  purple,  red, 
yellow,  and  other  col- 
ors. Sandals  and  shoes 
were  worn  when  out  of 
doors,  and  the  women 
had  many  different 
kinds  of  jewelry  and 
hair  ornaments. 


Reference  Books 

A  Cretan  Snake  God- 
dess, Century  Mag- 
azine, August.  1916; 
C.H.andH.B.Hawes, 
Crete  the  Forerunner  of 
Greece;  Hope,  Costumes 
of  the  Ancients;  Ra- 
cinet,  Histoire  du  Cos- 
turn  e;  Evans,  Greek 
Dress;  Edith  Abra- 
hams,   Greek   Dress; 


Page  One  Hundred  Four 


OUTLINE  OF  HISTORIC  COSTUME 


Cottrtcsy  of  ^frtTnpoJttan  Museum. 
Fig.  134.— Greek  Doric  cliitoii. 


G.  Baldwin  Brown,  Bur- 
lington Magazine  of  De- 
cember, 1905,  and  Janu- 
ary, 1906,  How  Greek 
Women  Dressed. 


History 

66.  Roman  Costume. 
Rome  founded  7.5:5  b.c. 

Rome  was  a  kingdom 
753-509  B.C. 

Rome  was  a  republic 
509-31  B.C. 

Rome  was  an  empire 
31  B.c.-476A.D.in  West. 


Dress  (Roman) 

Men  wore  a  tunic;  a 
toga,  or  cloak  corre- 
sponding to  the  Greek 
himation;  but  cut  semi-  fig. 


Coimcsv  of  Mctrovolitan  Museum. 
Fig.  135. — Greek  Ionic  chiton  and  himation. 


circular  in  form,  whereas 
the  Greek  himation  was 
rectangular. 

Only  Roman  citizens 
could  wear  the  toga, 
which  was  a  national 
garment,  so  the  pccnula 
was  worn  by  the  work- 
ing class.  This  was 
like  a  cape,  and  some- 
times had  a  hood.  This 
was  worn  by  all  classes, 
both  men  and  women, 
to  travel  in. 

^Yomen  wore  a  tunic 
which  was  like  that  of 
the  Roman  men;  a 
stola  or  dress  corre- 
sponding to  the  Greek 
Ionic  chiton  (differing 
in  that  it  had  a  border 
or    rufl3e    at    the    bot- 


FromHope.  .  , 

-ThecostumeofaRomanmanand  woman,  torn);     a    pfl//a  or  CloaK 


ROMAN   COSTUMES 


Page  One  Hundred  Five 


corresponding  to  the  Grecian 
himation. 

^omgn  ofthe  lower  classes 
could  not  wear  the  stola; 
they:  woxe  tunic  and  palla,  but 
this  palla  was  made  like  the 
Grecian  Doric  chiton. 

Roman  men  did  not  wear 
hats,  except  the  lower  classes, 
who  wore  tight-fitting  caps. 
See  Fig.  133. 

Roman  women  had  far  inore 
jewelry  than  the  Greek.  They 
had  all  the  precious  stones  we 
now  have.  They  dj^ed^  curled, 
and  arranged  their  hair  elabo- 
rately and  wore  sandals  and 
fancy  boots.  They  took  ex- 
cellent care  of  their  bodies. 

Books  of  Reference 
'Racinet,  Histoire  du  Costume; 


Tram  Hottenrotk. 
Fig.  138.— Gallic  costume  be- 
fore   coming    under    Iloman 
influence,  55.B.C. 


Hope,  Costume  of  the  Ancients; 
Preston  and  Dodge,  Family 
Life  of  Romans;  Planche, 
General  History  of  Costume  in 
Europe. 

History  and  Dress 

67.  The  Gauls.— Caesar 
made  a  complete  conquest  of 
Gaul,  55  B.C.  In  ancient  times 
the  civilized  races  were  un- 
trousered.  (See  Egyptians, 
Greeks,  and  Romans.)  Un- 
civilized races  were  trousered 
(Gauls,  Franks,  etc.). 

(a)  Men. — Wore  trousers  to 
the  ankles,  called  hraie;  a 
mantle  of  wool  fastened  in 
front,  called  sai;  a  tunic  to 
mid-leg  with  long  sleeves; 
girdles;  shoes  to  ankles.  See 
Fig.  137. 


From  Hottenroth. 
Fig-  137.— Gallic  costume  before  coming  under  Roman 
influence,  53  b.c. 


From  Hottenroth. 
Fig.  139. — Gallo-Roman  costume  100  a.d. 


Page  One  Hundred  Six 


OUTLINE  OF  HISTORIC  COSTUME 


Later  the  men  shortened  the  trousers 
and  tunic  and  wore  leggins  and  sandals 
with  bands. 

(b)  Women. — Inner  tunic  to  ankles; 
short  outer  tunic  with  short  sleeves; 
girdles;    shoes.     See  Fig.  138. 

The  women  afterwaixls  shortened  their 
outer  tunic  and  wore  a  mantle  like  a 
Roman  pajnula.  See  Fig.  139.  Both  men 
and  women  made  their  hair  red  with  lime 
water. 

About  a  hundred  years  after  the  Roman 
conquest,  the  Gauls  had  become  civilizetl, 
and  had  adopted  a  dress  somewhat  resem- 
bling the  Roman  costume,  but  the  Roman 
dress  was  also  influenced  by  that  of  the 
Gauls,  as  can  be  seen  by  the  introduction 
of  short  trousers  that  were  worn  under 
the  tunic. 

Reference  Books 

Hottenroth,  Le  Costinne.s  rhez  lea  Peit]>les- 


From  Hottenrotiu 
Ml. — Women's  costume  of  tlie  Franks  about 
8lli  teulury,  showing  fichu  and  veil. 


Racinet,  Le  Costume 
Uistorique;  Zur  Ge- 
schichte  der  Costume, 
Nach  Zeichnungen  von 
W.  Diez,  C.  Frohlish, 
I\r.  Heil,  C.  Haberlin, 
A.  Muller,  F.  Rothbart, 
J.  Waller  Muchen. 


Fig.  140.— Men'i 


•  of  the  early  Franks  alu 


JlisUmj 
68.  Third    to    Elev- 
enth   Centuries. — 

[)?>() ?  A.D.       King 

Arthur  in  England 
m.  Guinevere. 
^71-901  A.D.  King  Al- 
fred the  Great  in 
England  m.  Ethels- 
witha.  d.  of  Elhel- 
ran  of  INIcrcia. 


THIRD— ELEVENTH  CENTURY 


One  Hundred  Seven 


742-814  A.D.  Charlemagne  m.  Ist,  Her- 
mengardg,  m.  2d,  Hildegarde,  m.  3d, 
Fastrade,  4th,  Liutgarda. 

276  A.D.  The  Franks  came  down  the 
Rhine  took  possession  of  Gaul  grad- 
ually, but  made  a  complete  conquest. 
The  fifth  century  to  the  sixteenth 
century  comprises  the  costume  history 
of  the  Middle  Ages. 

Dress  {III  to  XI  Century) 

(a)  Men. — Wore  a  kind  of  tunic  usually 
to  the  knee;  mantle  the  shape  of  a  cape 
which  often  had  a  hood;  girdle;  shoes. 
See  Fig.  140. 

(6)  Women. — Wore,  like  the  women  of 
Gaul,  two  tunics,  also  a  veil  (sometimes 
large  enough  to  take  the  place  of  a  mantle) . 
See  Fig.  141.  The  women  in  England 
wore  a  similar  head  covering,  called  a 
wimple. 

The   influence   of   the   Eastern   Roman 


Empire  continued  after  the  arrival  of  the 
Franks  who  had  become  well  established 
by  the  sixth  century.  By  the  ninth  cen- 
tury gloves  and  handkerchiefs  were  some- 
times used.  The  outer  tunic  of  both  the 
men  and  women  was  now  often  decorated 
with  a  band  called  a  fichu.  This  was 
sometimes  set  with  precious  stones  and 
showed  Byzantine  influence.  See  Fig.  142. 
Reference  Books 
Zur  Geschichte  der  Costume;  Quicherat, 
Ilistoire  du  Costume  en  France;  Chal- 
lamel,  History  of  Costume  in  France  from 
Gallo-Roman  to  the  Present  Time. 

History 
69.  Eleventh  Century.— 
1066-1087  William  the  Conqueror,  King  of 
England,  m.  Mathilda,  d.  of  Baldwin 
V,  E.  of  Flanders. 
1087-1100  William  II,  King  of  England. 


From    '^UT  C      licfte  d  r  Costume. 
Fig   142  — French  costume  of  *)th  and  10th  centuries 


Frojn  Zur  GescMchtt-  der  Costume. 
Fig.  143.— King  and  Queen  of  the  11th  century. 


Page  One  Hundred  Eight 


OUTLINE  OF  HISTORIC  COSTUME 


1031-1060  Henry  I,   King  of  France  m. 

Anna,  d.  of  Jaroslaw  I  of  Russia. 
1060-1108  Philip  I,   King  of  France,  m. 

1st  Bertha,   d.   of  Florence  I,   C.   of 

HoUand,  m.  2d  Bertrade,  d.  of  Simon 

I,  C.  of  Montfort. 

Dress  {XI  Century) 

In  the  eleventh  century  the  influence 
of  the  Crusades  began  to  show  in  costume; 
apparently  the  costumes  of  the  Orient 
influenced  costume  and  men  adopted  a 
very  long  and  inconvenient  type  of  dress. 

(a)  Men. — Wore  a  long  under  tunic  down 
to  the  feet  called  a  chemise;  outside  tunic 
long  and  full  called  a  bliaud  (pronounced 
bleo).  This  was  held  in  by  a  girdle.  The 
bliaud  had  sleeves  similar  to  those  of  our 
kimona  (the  extra  fullness  in  the  skirt  was 
obtained  bj'  gores).     See  Fig.  143. 

Irousers  and  stockings  were  worn 
underneath. 

The  long  mantle  now  worn  was  fastened 
often  on  the  left  shoulder;  up  to  this 
time  it  had  been  more  conveniently  fast- 
ened on  the  right  shoulder,  giving  freedom 
to  the  right  arm. 

Men  wore  two  kinds  of  hats,  one  that 
resembled  a  Phrygian  bonnet,  and  a  cap. 
Men  and  women  now  dressed  much  alike. 

Reference  Books 
Hilaire  Billoc,  Book  of  Bayeux  Tapestry; 
Racinet,  Costume  Ilistorique;  Zur  Geschichte 
der  Costume;  Planch^,  Dictionary  and  Cyclc- 
■padia;  Jacquemin,  Iconographie  du  Cos- 
tume; La  Croix,  Manners,  Customs,  and 
Dress  During  the  Middle  Ages  and  Renais- 
sance, and  Ary  Renan,  Le  Costume  en 
France. 

History 
70.  Twelfth  Century.— 
1100-1135  Henry  I,  King  of  England,  m. 
1st,    Mathilda    of    Scotland,    m.    2d, 
Adelicia  of  Brabant. 


1135-1154  Stephen,  King  of  England,  m. 
Mathilda,  d.  o*  Eustace,  E.  of  Bou- 
logne. 
1154-1189  Henry  II,  King  of  England,  m. 

Eleonora  of  Aquitaine. 
1189-1199  Richard  I,  King  of  England,  m. 

Berengaria,  d.  of  K.  of  Navarra. 

1108-1137  Louis  VI,  King  of  France,  m. 

Adelaide,  d.  of  Humbert  II,  of  Savoy. 

1137-1180  Louis  VII,  King  of  France,  m. 

1st,   Eleanor,   d.   of   Guillaume  X  of 

Aquitaine,    m.    2d,    Constance,    d.    of 

Alphonso  VII  of  Castile,  m.  3d,  Alice, 

d.  of  Theobald  II,  C.  of  Champagne. 

1180-1223  Philip  11.  King  of  France,  m. 

1st,  Isabelle  of  Artois,  m.  2d,  Ingeborg 

of    Denmark,    m.    3d,    Marie,    d.    of 

Berthold  V  of  Meran. 

Dress  {XII  Century) 
In  the  twelfth  century  the  bliaud  for  the 
men  became  fitted  and  hoods  were  worn. 
The  women's  outer  tunic  became  fitted, 
tricot   and   lacing   were   both   introduced. 
This   tunic  had   long  bell-shaped   sleeves. 
The  sleeves  of  the  chemise  were  long  and 
fitted  at  the  wrist.     A  smaller  veil  called 
an  antique  veil,  held  by  a  circlet  or  crown, 
sometimes    embioidered,    now    took    the 
place  of  the  long  veils.     The  shoes  began 
to  show  points.     See  Fig.  143  and  144. 
Reference  Books 
Calthrop,    English    Costume;     Racinet, 
Costume  Historique;   Planche,  General  His- 
tory of  Costume;   La  Croix,  Manners,  Cu  - 
toms,  and  Dress  During  the  Middle  Ages  and 
Renaissance;    Quicherat,  Histoire  du  Cos- 
tume en  France;    Viollet-le-Duc,   Diction- 
naire  du  Mobilier  Franqais,  Vols.  3  and  4. 


History 

71.  Thirteenth  and  Fourteenth  Centu  ies. 

1199-121(i  John,  King  of  England,  m.  1st 

Alix,  d.  of  Hugo,  C.  of  Mortain,  m. 

2d,  Havoise,  d.  of  D.  of  Gloucester, 

m.  3d  Isabel,  d.  of  C.  of  Angouleme. 


THIRTEENTH— FOURTEENTH  CENTURIES      Paee  One  Huiidxed  Nine 


r 

^ 

1 

, 

1^1 

f  -m^ 

/-""^Tv 

fe  .i^^J^it 

,. 

I 

Si'ii 

i^  li 

r 

P 

i 

ill 

\ 

|l;| 

— 

-- 

_ 

From  VioUet~?e-Duc 

Fig.  144— Fitted  costume  of   12th 
century. 


From  VtoUet-lf^J>uc 
Pig.  146. — Parti-colored  or 
armorial  dress. 


From  VioJUt-l^Duc 
G.  145. — 2nd  form  of  surcot 
13th  and  14th  centuries. 


1216-1272    Henry    III    m.    Eleanore    of  2d,  Maria,  d.  of  Heinrich  III  of  Bra- 

Provence,  bant. 

1272-1307  Edward  I  m.  1st,  Eleanora  of     1285-1314  Philip  IV,  King  of  France,    m. 


Castile,  2d,  Margaret,  d.  of  Philip  III. 
1307-1327   Edward   II   m.  Isabelle,  d.   of 

Philip  IV,  King  of  France. 
1327-1377  Edward  III  m.  Philippa,  d.  of 

Wilhelm  III,  C.  of  Holland. 
1377-1399   Richard   II   m.    1st,    Anna   of 

Bohemia,  m.  2d,  Isabella  of  France. 
1399-1413    Henry    IV,    Lancaster    (Red 

Rose),  m.   1st,   Mary  Bohun,  m.  2d, 

Jane  of  Navarra. 
1223-1226  Louis  VIII,  King  of  France,  m. 

Blanche,    d.    of    Alphonso    VIII    of 

Castile. 
1226-1270  Louis  IX  (St.  Louis),  King  of 

France,   m.   Marguerite,   d.   of   C.   of 

Provence. 
1270-1285  Philip  HI,  King  of  France,  m. 

1st,  Isabelle,  d.  of  King  of  Arragon,  m. 


Jeanne,  Queen  of  Navarra. 

1314-1316  Louis  X,  King  of  France,  m.  1st, 
Margaret,  d.  of  Robert  II,  of  Bur- 
gundy, m.  2d,  Clemence  of  Hungaria. 

1316-1322  Philip  V,  King  of  France,  m. 
Jeanne,  d.  of  C.  of  Meran. 

1322-1328  Charles  IV,  King  of  France,  m. 
1st,  Blanch,  d.  of  Otho  IV,  m.  2d, 
Maria  of  Luxemburg,  m.  3d,  Jeanne, 
d.  of  Louis,  C.  of  Evreux. 

1328-1350  Philip  VI  (Valois),  King  of 
France,  m.  1st,  Jeanne,  d.  of  D.  of 
Burgundy,  m.  2d,  Blanche  of  Navarra. 

1350-1364  Jean  II,  King  of  France,  m. 
1st  Bonne  of  Luxemburg,  2d,  Jeanne, 
d.  of  William  XII,  C.  of  Auvergne. 

1364-1380  Charles  V,  King  of  France, 
m.  Jeanne,  d.  of  Duke  of  Bourbon. 


Page  One  Hundred  Ten 


OUTLINE  OF  HISTORIC  COSTUME 


1S80-1422  Charles  VI,  King 
of  France,  m.  Isabelle  of 
Bavaria  Ingolstadt. 

Dress  {XIII and XIV Centuries) 

In  the  thirteenth  century, 
more  interest  was  sho\^^l  in 
dress.  Both  men  and  women 
wore  a  semi-fitted  garment 
called  a  surcot,  hollowed  out 
under  the  arms. 

(a)  Men. — Wore  close  fit- 
ting trousers  ihraie);  mantle; 
surcot ;  tunic  (chemise) ;  cotte 
(tunic);  stockings;  hats  or 
hoods. 

(6)   Women.  —  Wore  inner 
tunic  or  chemise,  over  this 
a  cotte,  or  fitted  chemise  worn 
with  a  girdle,  over  this  the 
surcot.     The  surcot  had  no  Fig.ut. 
sleeves,  and  those  of  the    , 
cotte,  usually  of  a  con- 
trasting color,  were  an  <; 
important    feature    of 
this  robe;  by  degrees  the 
arms-eye  became  larger 
and  was  trimmed  with 
fur.     Sec  Figs.  1"2:5  and 
145.      The    skirts    were 
very  long  and  were  hel<  1 
up  as  the  woman  walk- 
ed,   showing    the   cotle 
again,    which    was    the 
same    material    as    the 
sleeves,  making  a  pleas- 
ing repeat  of  the  con- 
trasting color.      In  the 
fourteenth   century   the 
parti-colored    or    ar- 
morial dress  was  worn, 
see  Figs.  146  and   118,            f,g.  us.-Mcn  ..f  the 


Vrom  VioUet-i€-Duc. 
— 14thnnrll.5lh  ccntiirycoslim 
ing  licnuin  aud  tiuuppcluuU. 


From   VMIel-lc-Dlic. 
,51  li  fcntiiry. 


and  the  hennins  or  high  head 
dress  came  in.  Toward  the 
last  of  the  century  the  houp- 
pelande  or  one-piece  dress 
replaced  the  surcot.  See 
Figs.  147,  148  and  108.  In 
this  garment  women  are  said 
to  ha\-e  discovered  the  nor- 
mal waistline.  This  had  a 
V-shaped  neck,  widely  off  at 
the  shoulders.  The  women 
were  at  this  time  wearing 
the  wimple  or  head  covering, 
and  about  the  throat  the 
gorget  in  certain  localities. 

The  surcot  of  the  men  grew 
.shorter  and  had  large  sleeves. 
Their  stockings  were  close- 
fitting  and  combined  with 
the  trousers.  The  shoes  were 
more  pointed.  They  added 
an  houpplande  or  some- 
times long,  sometimes 
short,  outer  garment 
with  large  sleeves.  See 
Figs.  108  and  148. 
Reference  Books 
Books  mentioned  under 
fifteenth  centurj'. 


Hi. si  cry 
72.  Fifteenth  Cen- 
tury.— 

141:5-142^2  Henry  V, 
King  of  England, 
m.  Catherine  of 
Valois,  d.  of  Charles 
VI  of  France. 
1422-1401  Henry  VI, 
King  of  England,  m. 
Margaret  of  Anjou. 
1461-1483   Edward   IV 


SIXTEENTH  CENTURY 


Page  One  Hundred  Eleven 


(White  Rose),  m.  Elizabeth  of  Wood- 

ville. 
1483  Edward  V,  King  of  England. 
1483-1485  Richard  III  (White  Rose),  m. 

Anne  Nevill. 
1485-1509  Henry 

VII  (Tudor), 

m.  Elizabeth 

of  York. 
1422-1461  Charles 

VII,  King  of 
France,  m. 
Marie,  d.  of 
D.  of  Anjou. 

1461-1483  Louis 

XI   m.    1st, 

Marguerite, 

d.  of  James  I, 

King  of  Scot- 
land, m.  2d, 

Charlotte   of 

Savoy. 
1483-1498  Charles 

VIII.  m.  Anne 
of  Brittany. 

1498-1515  Louis 
XII.  m.  1st, 
Jeanne,  d.  of 
Louis  XI,  m. 
2d,  Anne,  widow  of  Charles  VIII,  m.  3d, 
Mary,  d.  of  Henry  VII,  King  of  England. 

Dress  {XV  Century) 

The  fifteenth  century  was  an  exaggera- 
tion of  the  modes  of  the  fourteenth.  More 
extravagant  fabrics  were  used,  and  every- 
thing became  more  extreme,  even  to  the 
points  of  the  hats  and  shoes. 

Towards  the  end  of  this  century  came 
a  transitional  period.  The  toes  of  the 
shoes  became  round,  the  dresses  became 
more  semi-fitting,  and  were  split  up  the 
front,  showing  the  underskirt.     They  had 


Fig. 


square  necks  and  were  worn  with  a 
girdle.  The  close-fitting  cap  was  the  head- 
dress now  used,  and  had  probably  been 
introduced  into  France  by  Anne  de  Bre- 
tagne.  Queen  of  France.  See  Fig.  150. 
The  Fifth  cen- 
tury to  the  six- 
teenth century 
comprises  the  cos- 
tume history  of 
the  Middle  Ages. 

Reference  Books 

Calthrop,  Eng- 
lish Costume;  Zur 
Geschichte  der  Cos- 
tume; Quicherat, 
Histoire  du  Cos- 
tume en  France; 
Pauquet  Freres, 
Modes  et  Costumes 
Historiques;  Hot- 
tenroth,  Les  Cos- 
tumes chez  les 
Pen  f  les;  La  Croix, 
Manners,  Costume, 
and  Dress  During 
the  Middle  Ages 
and  Renaissance; 
Robida,  Ten  Centuries  in  Toilette;  Racinet, 
Histoire  du  Costume;  Planche,  Dictionary 
and  Cyclopedia;  Viollet-le-Duc,  Dictionnaire 
du  Mohilier  Frangais,  Vols.  3,  4;  Raphael 
Jacquemin,  Iconograpkiedu  Costume;  Helen 
Sanborn,  Anne  of  Brittany. 

For  fifteenth  century  illustrations  of 
costume,  see  Joan  of  Arc,  by  Boutet  de 
Monvel. 

History 
73.   Sixteenth  Century.  Renaissance. — 
1509-1547  Henry  VIII,  King  of  England, 
m.  1st,  Catherme  of  Aragon;  m.  2d, 


FrQDi  Zur  Gesc/iic' 

German  costume  of  early  IGth  cen 


Page  One  Hundred  Twelve  OUTLINE  OF  HISTORIC  COSTUME 


F^om  Pauqucl  Frircs.  From  Paugua  Fr&cs. 

Fi<i.  1  jO. — Costiinie  of  transition  i)criod.  Fig.  151. — Costume  of  ICth  century,  1527. 

.\ime  of   Urittaiiy.    1.500. 


©, 

i« 

ft 

m^ 

m 

ttft 

15'2. — Early  Renaissance,  li 


SIXTEENTH  CENTURY 


Page  One  Hundred  Thirteen 


Anne  Boleyn;  m. 
3d,  Jane  Seymour; 
m.  4th,  Anne  of 
Cleves;  m.  5th, 
Catharine  Howard; 
m.  6th,  Catharine 
Parr. 

1547-1553  Edward  VI. 

1553-1558  Mary  Tudor, 
Queen  of  England, 
m.  Phihp  II,  King 
of  Spain. 

1558-1603  Elizabeth, 
Queen  of  England. 

1515-1547  Francis  I, 
King  of  France,  m. 
1st,  Claude,  d.  of 
Louis  XII;  m.  2d, 
Eleanor,  d.  of 
Philip. 

1547-1559  Henry 
II,  King  of 
France,  m.  1st, 
Catherine  de 
Medicis;  m. 
2d,  morga., 
Diana,  Duchess 
of  Valentinois. 

1559-1560  Francis 
II,  King  of 
France,  m. 
Mary  Stuart, 
Queen  of  Scot- 
land. 

1560-1574  Charles 
IX,  King  of 
France,  m.  1st, 
Elizabeth,  d. 
of  Emp.  ]Max- 
imilian;  m.2d, 
morga.,  Marie 
Touchet. 


n 


1574-1589  Henry  III, 
King  of  France,  m. 
Louise  of  Lorraine. 
1589-1610   Henry    IV 
(Bourbon) ,  King  of 
France,  m.  1st, 
Marguerite  of  Va- 
lois;    m.  2d,  Marie 
de  Medicis. 
Dress  {XVI  Century) 
Great    changes    now 
developed.      The  cos- 
tumes   for    men    and 
women  from  this   time 
on  are  no  longer  alike. 

The  desire  now  seem- 
ed to  be  to  alter  in 
various  ways  the  nor- 
mal shape  of  the  figure. 
The  women  first  wore 
a  boneless  corset, 
which  they  called  a 
hasquine, and  a  crin- 
oline which  gave 
the  appearance  of  a 
hooped  skirt,  which 
they  called  Xhevertu- 
gale.  See  Fig.  152, 
The  waistline 
was  normal  and 
slightly  pointed  in 
front.  A  piece  of 
material  was  sewed 
on  the  vertugale  to 
take  the  place  of 
the  cotte.  The 
under-sleeves  were 
made  of  the  same 
material,  and  some- 
times slashed  to 
show  the  chemise; 
sometimes  this 


Page  One  Hundred  Fourteen 


OUTLINE  OF  HISTORIC  COSTUME 


same  material  was  used 
as  a  panel  in  the  front 
of  the  waist.  The  neck 
line  was  square  but 
curved  upward  at  the 
centre.  The  skirt  was 
round  length. 

Large  mantles,  usual- 
ly with  hoods,  were  used 
for  out  of  doors.  The 
shoes  were  no  longer 
pointed.  Red  was  the 
popular  color  for  slioes 
and  stockings.  Jewels 
were  used  in  profusion 
to  elaborate  the  cos- 
tumes; collars  set  with 
gems  were  favored. 

The   men   wore   very 
short,   often  slashed, 
trousers,  long  stockings, 
a    doublet    with    a 
square   neck,    slashed, 
round  -  pointed    shoes, 
a  Ml!  a  mantle.     See 
Figs.  151  and  153. 

The  first  change 
came  in  the  latter 
part  of  the  century, 
when  many  women 
wore  a  waist  wiiich 
buttoned  to  the  throat. 
The  large  over-sleeves 
were  discarded  for 
smaller  ones  with  a 
padded  roll  at  the 
arm-eye.  The  ruff  now 
became  popular.  ^lore 
width  was  given  to 
the  hips  by  a  barrel- 
shaped  hoop  which 
made  a  definite  change 


of  llic  lute  Renaissance,  158CJ. 


in  the  silliouette.  The 
waist  became  smaller 
in  size.  Both  round 
length  and  long  skirts 
were  worn.  T^rains  were 
worn  on  horseback,  one 
of  which  was  seventy 
feet  long.  The  widely 
open  bodice  became 
popular,  to  which  im- 
mense ruffs  were  added. 
The  balloon-shaped 
sleeves,  too,  had  grown 
enormous.  It  was  at 
tliis  time  that  ribbon 
came  in.  See  Figs.  154 
and  155. 

^len  s  figures  dimin- 
ished in  size  as  women's 
figm-es  increased.  They 
also   wore    both    corset 

and    ruffs.      See    Fig. 

150. 

Reference  Books 
See  books  mentioned 
under     fifteenth     and 
seventeenth  centuries. 


rrom  Pawiucl  Frirca. 

Fig.  157.— E.irlv  17th  Century  costume,  \<m. 


Hi  story 
74.    Seventeenth 

Century. — 

lGO;5-l(i'-25  James  L 
King  of  Englaml, 
m.  Anne,  d.  of 
Frederick  II,  King 
of  Denmark. 

162.5-1649  Charles  L 
King  of  England, 
m.  Ilenriette 
INIarie,  d.  of  Hen- 
ry IV,  King  of 
France. 


SEVENTEENTH  CENTURY 


Page  One  Hundred  Fifteen 


Fig.  158. — Costume  of  the  early  part  of  Louis  XIV  reign. 


i-r  ,1    I      HI   I  F 
Fig.   159  — Costume  of  (be  reign  of  Louis 
XIV,  1670 


From  Pauquet  Fren 
Fig.  160.— Costume  of  the  later  part  of  Louis  XIV 
reign   showing   Fontanges   head-dress. 


Frmn  Pauquet  Fr^res^ 
FiG.  161.— Costume  of  the  later  part  of 
Louis  XIV  reign. 


Page  One  Hundred  Sixteen 


OUTLINE  OF  HISTORIC  COSTUME 


1649-1653  Interregnum. 

1653-1658  Oliver  Cromwell,  Protector  of 

England,    m.    Elizabeth,    d.    of    Sir 

Thomas  Bourchier. 
1658-1660  Richard  Cromwell,  Protector  of 

Eng.,  m.  Dorothy  Mayor. 
1660-1685  Charles  IL^King  of  England,  m. 

Catharine  of  Braganza. 
1685-1688  James  II,  King  of  England,  m. 

1st,  Anna  Hyde;    m.  2d.  Mary,  d.  of 

Alfonso  IV,  D.  of  ]\Iodena. 
leSO-lTOS  William  III  and   Mary,   King 

and  Queen  of  England. 
1610-161.3   Louis   XIII,   King  of  France. 

m.  Anna  of  Austria. 
1643-1715    Louis   XIV,    King   of   France, 

m.  Marie  Therese  of  Spain. 
Favorites  Mile,  de  la  Valliere,  Mme.  de 

Montespan,   Mile.   Fontanges,   Mme. 

Maintenon. 

Dres.s  (XVII  Cnilun/) 
The  heaviness  of  the  sixteenth  century 
gave  wayby  degrees  to  the  more  picturesciuc 
costume  of  the  seventeenth  century. 

(a)  Men. — Men's  trousers  lengthened 
and  they  .shortened  tiie  waistline  and 
added  ])ephim,  and,  like  the  women,  u.sed 
lace  and  riljbon  profusely.  They  wore 
nuiskclccr  Ixtols.  'I'hcir  lials  were  high 
with  a  tial  l)riin  and  decorated  willi  flow- 
ing plumes.  Tlie  hair  was  worn  long. 
For  an  outer  garment   the  cape  was  u.sed. 

Men's  costumes  in  tlie  hi.st  quarter  of 
this  century  changed  greatly.  The  doub- 
let now  turned  into  a  waistcoat  or  vest 
and  a  new  garment  or  outer  coat  was 
added.  Sleeves  had  deep  cuffs.  The  stock 
collar  and  jabot  took  the  place  of  round 
collars.  The  chemise  showed  at  the  wrist, 
and  under  (he  jabot.  The  trousers  were 
close-fitting  and  less  decorated.  They  wore 
large  muffs  and  wigs  and  a  hat  with  turned- 
up  brim  and  flat  plu.nes.  See  Figs.  157, 
and  161. 

(b)  Women. — Abandoned  the  hoop,  and 


wore  a  round  length  under-petticoat  and 
an  overskirt  which  was  often  trailing. 
The  fullness  was  at  the  sides  and  back. 
Often  the  skirt  opened  in  front.  When 
this  was  done,  a  narrow  panel  of  the  same 
kind  of  material  as  the  petticoat  was  used 
up  the  front  of  the  bodice.  The  round 
neck  line  was  used  most  at  this  period 
and  the  large,  flat  collar  generally  replaced 
the  ruff.     See  Fig.  157. 

In  some  instances  the  waistline  was 
raised  and  a  short  slashed  peplum  added. 
The  woman  often  wore  a  string  of  pearls 
at  the  neck.  Notice  the  simple  way  their 
hair  was  worn.     See  Figs.  157  and  158. 

In  the  latter  part  of  the  period,  under 
Louis  XIV,  the  skirt  was  looped  up,  the 
waist  became  longer,  heels  grew  higher, 
waists  grew  tighter  and  fans  were  a  neces- 
sity.    See  Fig.  160. 

Two  kinils  of  neck  lines  were  now  pop- 
ular: The  straight  line  decollet^e,  close 
to  the  neck,  which  seemed  an  extension 
of  the  panel  front  used  with  .short  sleeves; 
and  the  round  neck  line,  which  was  oflf  the 
shoulders.  A  shorter,  fluffier  sleeve  was 
used  with  the  round  neck  line.  Both  these 
are  forerunners  of  the  eighteenth  century. 

The  Fontanges  headdress  came  in  the 
late  part  of  this  century  and  clothes  be- 
came very  formal  under  the  sway  of  Mme. 
de  Maintenon.  See  Fig.  KiO.  Large  bro- 
cades that  looked  like  furniture  covering 
were  much  used  in  the  latter  part  of  the 
reign  of  Louis  XIV,  and  the  material  was 
draped  .so  that  a  bustle  effect  was  obtained. 
The  women  carried  small,  round  muffs. 

Reference  Books 
Calthroj),  English  Costume;  Pauquet 
Freres,  Modes  el  Costumes  Historiques; 
Robida,  Ten  Centuries  of  Toilette;  Pierre 
Lamesangere,  Costumes  des  Femmes  Fran- 
raises;  Zur  Geschichte  der  Costume. 


EIGHTEENTH  CENTURY 


Page  One  Hundred  Seventeen 


History 

75.  Eighteenth  Century. — 

1702-1714  Anne,  Queen  of  England, 
m.  George  D.  Cumberland. 

1714-1727  George  I,  King  of  Eng- 
land, m.  Sophia  Dorothea,  his 
cousin. 

1727-17G0  George  II,  King  of  Eng- 
land, m.  Carolina  of  Branden- 
burg-Ansbach. 

1760-1820  George  III,  King  of  Eng- 
land, m.  Charlotte  of  Mecklen- 
burg-Strelitz. 

1715-1774  Louis  XV,  King  of  France, 
m.  Maria  Leczinska. 
Favorites     Marchioness    de    Pom- 
padour, Countess  du  Barry. 

1774-1792  Louis  XVI,  King  of  France, 
m.  Marie  Antoinette,  d.  of  Franz 
I.  Stephen,  Germ.  Emp.  ^     .n.    ts      ^  .  ,    ,         "L™™ '''""'"'"  "'''''■ 

^  ^  Fig.  162.— Draped  costume  of  the  late  18th  century,  1763. 

Dress  iXVIII  Century) 
<  *''  -  Early  in  the  eighteenth  century 

the  hoop  was  revived  (1711). 
This  time  it  was  a  framework  of 
cane,  whalebone,  or  some  similar 
material,  and  was  called  a  panier. 
It  was  wide  at  the  sides  and  flat 
in  the  back  and  front,  but  the 
fullness  of  the  skirt  gave  the  re- 
quired size  at  the  back.  During^ 
the  regency,  plain,  full  skirts  of 
light  weight  material  were  in 
vogue;  afterward,  heavie'-  fabrics 
and  more  decoration  appeared. 
The  tj'pe  was  more  frivolous 
than  that  used  during  the  latter 
part  of  the  reign  of  Louis  XIV. 
When  the  bodice  had  a  round 
neck,  the  sleeves  were  usually 
made  of  ruffles  of  lace;  with  the 

From  Pauiuct  Frlres. 

-Louis  X^^  Watteau  costume  showing  18th  century  hoop,  1729.  Square    neck,  the   sleeves   Were 


vl-; 


Page  One  Hundred  Eighteen 


OUTLINE  OF  HISTORIC  COSTUME 


PnuQUet  Frt^Tcs. 


Fig.  104. — The  costume  of  a 

u.suiilly  do.sc-filliiig 
with  (Ic-coralion  at 
tlicell)ow.  SccFif?. 
1(56.  Miidi  lac.-, 
ribbon  and  arUficial 
flowers  were  ii.-ed. 
Mantles  were  cape- 
.sliaped  with  hoods. 
In  the  second 
(jiiarter  of  the  cen- 
tury the  one-piece 
dress  with  a  Watteau 
plait  came  in;  tlii.s 
was  then  worn  coii- 
t  e  ni  p  o  r  a  n  e  o  11  s  1  y 
with  the  other.s, 
and  made  in  differ- 
ent ways.  See  Fig. 
16;3.  Sometimes  the 
waistline  was  not 
defined     and      the 


J'ainttnf;  by  1 
y  roiinil  neck  line  and  ruffle  lace 
sleeves. 


From  PavQuet  Frircs. 
is  XVI  costume,  1777. 


pleats  were  allowed 
to  fall  straight  from 
the  shoulders  to  the 
floor;  at  other  times 
the  skirt  was  draped 
at  the  back  and  sides, 
showing  the  under- 
skirt. The  dresses 
were  often  worn 
short,  as  much  at- 
tention was  given  to 
shoes  and  stockings^ 
The  costume  of 
the  men  of  this  pe- 
riod was  strongly 
influenced  by  the 
paniers  used  by  the 
women  and  the 
skirts  of  the  coats 
were  stifi'ened  and 
boned.     The  shoes 


EIGHTEENTH  CENTURY 

A3. 


Page  One  Hundred  Nineteen 


Frovt  Zvr  Ocstlnt-hie  dci  Coitvme. 
Fig.  167.— Louis  XVI  costume,  1780. 


Frov!  Pauqitet  Frires. 
Fig.  169.— Directoire  costume,  1798. 


From  Zur  OeschicMe  der  Costume.  From  Pauquet  Frires, 

Fig.  168. — British  or  masculine  costume.  Fig.  170. — The  costumes  of   1795  of  the  "  Incroyables  " 

(men)  and  "  Merveilleuses "  and  "Impossibles"  (women). 


Page  One  Hundred  Twenty 


OUTLINE  OF  HISTORIC  COSTUME 


had  red  heels,  aud  a 
tricornered  hat  was 
worn.     See'Figri64. 

The  costumes  of  the 
reign  of  Louis  XVI 
from  177-i  to  1792  were 
exaggerations  of  the 
costumes  of  the  reign 
before.  The  bodices 
were  extremely  tight 
and  stiffly  boned,  the 
skirts  were  elaborately 
trimmed,  and  immense 
headdresses  were 
worn.  See  Fig.  165. 
Farming  at  the  Pelil 
Trianon  brought  in 
the  dainty  overdress 
adapted  from  the 
Watteau  style,  and  the 


Fig.   171.— Fashions  of  the  Consulate,  1799-1803. 


shepherdess  crook.  See 
Fig.  167.  The  next 
change  was  that 
brought  in  by  the  ap- 
proaching French  Rev- 
olution. This  was  a 
more  masculine  cos- 
tume and  was  called 
British  or  English.  See 
Fig.  168. 

The  days  of  the  Rev- 
olution (1789-1799) 
brought  in  simple 
fashions.  Corsets  were 
discarded,  the  waist 
became  short  and  the 
skirt  clinging,  and 
clicap  materials  were 
used.  During  the  Di- 
rectoire,    the    women 


72. — Costume  of  the  First  Empire, 
1811. 


Fig.  173.— Costume  of  I  lie  First  Empire, 
1813. 


NINETEENTH  CENTURY 


Page  One  Hundred  Twenty-one 


adapted  the  classic 
style,  borrowing  from 
both  Greek  and  Ro- 
man fashions.  These 
costumes  were  scanty, 
and  frequently  were 
split  up  the  sides. 
The  dresses  were 
often  transparent  and 
worn  without  chem- 
ises. See  Fig.  169. 
The  gentlemen  of  this 
fantastic  period  were 
styled  "Incroyables," 
"Unimaginables  "; 
the  ladies,  "Merveil- 
leuses"  and  "Impos- 
sibles." See  Fig.  170. 
The  men  wore  an 
exaggerated  copy  of 
what  had  been  previ- 
ously  called  the 
English  fashion. 

Reference  Books 
See  books  mentioned 
under  seventeenth  and 
nineteenth  centuries. 


History 
76.  Nineteenth 

Century. — 

1820-1830  George  IV, 
King  of  England, 
m.  1st,  morga., 
Mrs.  Fitzherbert; 
m.  2d,  Caroline 
of  Brunswick- 
Wolfenbiittel. 

1830-1837  William 
IV,  King  of  Eng- 
land, m.  Adelaide  of 
Saxe-Meiningen. 


From  Paiiii-^  Frires. 
Fig.  174.— Costumes  of  the  Restoration,  1820. 


Pig.  175.— Costumes  of  the  Romantic  Period  during 
reign  of  Louis  Philippe,  1830-18J.8. 


1837-1901  Victoria 
Alexandra,    m. 
Albert,  Prince  of 
Saxe-Koburg  and 
Gotha. 
1792-1795  Conven- 
tion. 
1795-1799  Directory. 
17S9-1804  Consulate. 
1804  1814  Emperor 
Napoleon  Bona- 
parte, m.    1st, 
Josephine    Ta- 
scher,  2d,  Marie 
Louise,   d.  of 
Franz  I.  German- 
Roman  Emperor. 
1814-1824    Louis 
XVIII,   King  of 
France,  m.  Maria 
of  Sardinia. 
1824-1830  Charles  X, 
King    of    France, 
m.   Maria  Theresa 
of  Sardinia. 
1830-1848    Louis-Phi- 
lippe   of   Orleans, 
King  of  France,  m. 
Marie    Amalie    of 
the  Two  Sicilies. 
1848-1870  Louis  Na- 
poleon III,   m. 
Eugenie  de   Guz- 
man,    Countess 
of  Teba. 
Dress  {XIX  Century) 
It  is  said  that  the 
fashions    of   the   Con- 
sulate, 1799-1804, 
which  were  much  more 
restrained,  kept  all 
that  was  best   in   the 


Page  One  Hundred  Twenty-two  OUTLINE  OF  HISTORIC  COSTUME 


fashions  of  the 
Directory.  See 
Fig.  171.  A  beau- 
tiful quality  of 
Indian  lawns  and 
muslins  was  used, 
and  the  shawl 
introduced  by 
Napoleon  became 
popular. 

During  the  Em- 
pire (1804-18U) 
materials  became 
more  elaborate. 
Things  were  mil- 
itary. Oriental 
silks  and  heavier 
materials  were 
used,  and  the 
tendency  was  to 
be  well  covere(  I . 
See  Figs.  17-2  and 
173. 

The  Res  tora  t  ion , 
1814-18:50  (reign 
of  Louis  NVIII), 
found  the  silliou- 
ette  changing. 
See  Fig.  174. 
Corsets  had  again 
come  in  and 
caused  the  waist- 
line  to  dro]) 
slightly.  Tlie  skirts 
had  more  fullness, 
were  elaborately 
trimmed  and  were 
worn  quite  short. 
(Charles  X,  1824- 
1830.)  In  the 
twenties  the  waist 
found  its  normal 


W' 

/! 

1*^=^; 

R- 

"    ^i 

^•'if 

)■', 

-  w4 

Hr';r|[^ 

» ^_ 

Mw^ 

\M^ 

^■■-^v^^ 

R 

^ 

P 

WiNl. 

Pi 

^I^II^Hl  f 

V.-am^- 

r-  '■ 

Fia.  177.— Costuni. 


waistline,  the 
sleeves  became 
large  and  gave 
width  to  the 
shoulders.  Much 
mterest  was  now 
b e i n g  t  a k e n  in 
bonnets. 

The  reign  of 
I  ouis-Philippe, 
1830-1848,  was 
called  the  Ro- 
mantic Period. 
See  Fig.  175.  The 
waists  were  close- 
fitting  with  a 
^'ery  low  neck,  and 
were  witle  off  at 
the  shoulders. 
The  pojjular  ber- 
Iha  effect  increas- 
ed this  still  more. 
The  waistline  was 
])()inled  in  front, 
file  skirt  full  but 
\vi  f  h  less  trim- 
ir.ings,  and  floun- 
ces were  some- 
limes  used.  Shoes 
w  ere  low  and  had 
no  heels.  The  Re- 
l)ul)Hc  under  Louis 
Napoleon,  1848- 
18,52,  found  the 
.'•kirts  increasing 
in  size,  and  by  the 
Second  Empire 
i.nder  Napoleon 
III,  1852-1870, 
t  he  skirts  were 
held  out  by  stiff 
petticoats    which 


NINETEENTH  CENTURY 


Page  One  Hundred  Twenty-three 


led  up  to  the  return  of  the  crinoHnes  and 
hoops  of  1854.  See  Figs.  17G  and  177.  The 
long  shoulder  line  persisted  and  sleeves 
were  bell-shaped  and  full  at  the  wrist. 
Jackets,  shawls,  and  capes  similar  to  those 
worn  in  the  First  Empire  were  used.  By 
1870  the  bustle  had  supplanted  the  hoops, 
and  from  that  time  to  the  present  rapid 
changes  have  taken  place. 

Reference  Boohs 

Modes  et  Costumes  Historiques,  par  Pau- 
quet  Freres,  two  volumes;  Portraits  en 
Pied,   Dessines    par   Sante   Graves.     Zur 


Geschiclite  der  Costume;  Iconogra'phie  du 
Costume,  by  Raphael  Jacquemin;  English 
Costume,  by  Calthrop;  Fashions  in  Paris, 
1797-1897,  by  Octave  Uzanne;  Modes  et 
Usages  au  temps  de  Marie  Antoinette, 
Livre;  Journal  de  Madame  Elojfe,  Le 
Comte  de  Reiset;  Marchande  de  Modes; 
Dame  Fashion,  1786-1912,  by  Julius  M. 
Price;  Galerie  des  Modes  et  Costumes  Fran- 
gais,  1778-1787,  par  M.  Paul  Cornu; 
Die  Mode;  Modes  and  Manners  of  Nine- 
teenth Century,  by  Dr.  Oskar  Fischel  and 
Max  von  Boehn,  translated  into  English 
by  M.  Edwardes  in  three  volumes,  1790- 
1878  and  Godey's  Lady's  Book,  1830-1890. 


Drawn  by  Robert  Henry  for  Felix  Jungmann  &  Cie.,  Paris. 


i' 


<u 


From  11  crayon  drawing  hy  Soulic. 


I  of  Harper  s  liazar. 


BIBLIOGRAPHY 


BIBLIOGRAPHY 


Racinet.  Histoire  du  Costume.  6  vols.  Illustrated. 
French  text. 

Dress  of  the  Ancient  Egyptians.  Published  by  the 
Metropolitan  Museum  of  Art.     Illustrated. 

Ancient  Egyptian  Kerchief.  Metropolitan  Museum 
Bulletin,  Vol.  XI,  No.  11.     Illustrated. 

Prisse  D'Avennes.  Histoire  de  L'art  Egypt.  Illus- 
trated.    French  Text. 

Book  of  the  Dead.  Facsimile  of  Papyrus  of  Ani 
in  British  Museum.     Illustrated.     English  text. 

Breasted.  Ancient  Times.  Illustrated.   English  text. 

Abrahams.  Greek  Dress.  Illustrated.  English 
text. 

Evans.     Greek  Dress.     Illustrated.     English  text. 

Hope.  Costume  of  the  Ancients.  2  vols.  Illus- 
trated.    English  text. 

Notor.  La  Femme  dans  L'Antiquit6  Grecque. 
French  text. 

Van  Rensselaer,  Mrs.  Schuyler.  A  Cretan  Snake 
Goddess.  Century  Magazine,  August,  1916. 
Illustrated.     English  text. 

Brown,  G.  Baldwin.  How  Greek  Women  Dressed 
Burlington  Magazine,  December,  1905,  and  Jan 
uary,  1906.     Illustrated.     English  text. 

Planche.  Dictionary  and  Cyclopaedia.  2  vols 
Illustrated.     English  text. 

Jacquemin.  Iconographie  du  Costume.  Illustrated 
French  text. 

Quicherat.  Histoire  du  Costume  en  France.  Illus- 
trated.    French  text. 

Hottenroth.  Le  Costume  chez  les  Peuples.  Anciens 
et  Moderns.  Illustrated.  German  and  French 
text. 

Boutet  de  Monvel.  Joan  of  Arc.  For  XV  Century 
Costume.    Illustrated.    French  and  English  text. 

Braun,  Diez,  Froehlich,  etc.  Zur  Geschichte  der 
Kostiime.  Illustrated.  German  text.  English 
index. 

Viollet-le-Duc.  Dictionnaire  du  Mobilier  Frangais. 
Vols.  3  and  4.     Illustrated.     French  text. 


Renan,  Ary.     Le  Costume  en  France.     Illustrated. 

French  text. 
Robida,  A.     Ten  Centuries  of  Toilette.     Illustrated. 

French  and  English  text. 
Challamel.     The  History  of  Costume  in  France  from 

Gallo-Roman  to  present  time.     Illustrated.     Eng- 
lish text. 
Billoc.    Bayeux  Tapestry.       Illustrated.       English 

text. 
La  Croix.     Manners,  Customs  and  Dress  during  the 

Middle  Ages  and  Renaissance.   Illustrated.   Eng- 
lish text. 
Calthrop.    English  Costume.    Early  English,  Middle 

Ages,  Tudor  and  Stuart,  and  Georgian.    Published 

in  1  vol.  and  in  4  vols.     Illustrated.    English  text. 
Pauquet  Freres.     Modes  et  Costumes  Historiques. 

2  vols.     Illustrated.     French  and  English  text. 
Hughes.     Dress  Design,  an  account  of  Costumes  for 

artists    and     dressmakers.     1     vol.     Illustrated. 

English  text. 
Aria.    Costume.    Fanciful,  historical  and  theatrical. 

Illustrated.     English  text. 
Le  Comte  de  Reiset.     Modes  et  Usages  au  temps  de 

Marie  Antoinette.    Livre — Journal    de  Madame 

Eloffe.        Marchande    de    Modes.        Illustrated. 

2  vols.     French  text. 
Grand-Carteret.        Les    Elegances    de    la    Toilette. 

Louis  XVI-Restauration,  1780-1825.    Illustrated. 

French  text. 
Wahlen.     Moeurs,  Usages  et  Costumes  de  tons  les 

Peuples  du  Monde.     Illustrated.     French  text. 
Lamesangere.       Costume    des    Femmes    Frangaise. 

Illustrated.     French  text. 
Sante     Graves.     Portraits     en    Pied.      Illustrated. 

French  text. 
Uzanne,    Octave.     Fashions     in    Paris,     1797-1897. 

French  and  English  text.     Illustrated. 
Price.     Dame  Fashion,   1786-1912.     English  text. 

Illustrated. 


Page  One  Hundred  Twenty -eight 


BIBLIOGRAPHY 


Cornu,  M.  Paul.  Galerie  des  Modes  et  Costumes 
Fran5aises,  1778-1787.    Illustrated.    French  text. 

Fishel  and  Von  Bnehn  translated  by  M.  Edwardes. 
Modes  and  Manners  of  the  Nineteenth  Century, 
1790-1878.  3  vols.  Illustrated.  German  and 
English  text. 

Rhead.     Chats  on  Costume.  Illustrated.  English  text. 

Earle.  Two  Centuries  of  Costume  in  America. 
Illustrated.  Published  m  1  vol.  and  2  vols. 
English  te.Kt. 

McClellan.  Historic  Dress  in  America.  Illustrated. 
Vol.  1,  1607-1800;  Vol.  -l.  1800-1870.  English  text. 

f]'ehl).  The  heritage  of  Dre.ss.  Notes  on  the  history 
and  evolution  of  clothes.  Illustrated.  English 
text. 

Bakst,  Leon.     L'art  d^coratif.     French  text. 

Fates.  Dre.ssmaking.  Chapter  I  on  The  Historic  De- 
velopment of  Costume.    Illustraled.    English  text. 

Ellsworth  Textiles  and  Costume  Design. 

Peterson's  Magazine.  1842-1898.     English  text. 

Godey's  Lady's  Bool:.     1830-1898.     Engli.sh  text. 

Gazette  du  Bon  Ton.  Arts,  Motles  and  Frivolities. 
French  text. 

Journal  des  Dames  et  des  Modes.     French  text. 

Burbanlc.     AVonian  a-s  Decoration.     English  text. 

Lessing.  Julius  ron.  Die  Gewehe  Sammhing  des 
Kunstgewerbe  Mu.seum.     German  text. 

Funke,  Otto  von.  Seirlenweherei.    2  vols.  German  text. 

Moore,  N.  Hudson.  The  Lace  I$ook.  Showing 
Specimens  of  Lace,  or  its  wear  in  famous  por- 
traits.    English  text. 

Palliser.  Mrs.  Iliiry.  .V  Historx-  of  Lac.>.  English 
text. 

Rieci.  Elisa.     Antichc  Trine  Italianc.     Italian  text. 

Pollen,  Mrs.  J.  Ilungcrford.  Seven  Centuries  of 
Lace.     English  text. 


Jourdain.,  M.     Old  Lace.     English  text. 

Lowes,  Mrs.  Chats  on  Old  Lace  and  Needlework. 
English  text. 

Laprade,  Mme.  Laurence  de.  Le  Poinet  de  France. 
French  text. 

Jackson.  Mrs.  F.  Xerill.  A  History  of  Hand-made 
Lace.     English  text. 

Lefebure.  Ernest.  Embroidery  and  Lace.  English 
text. 

Huish.  Marcus  B.  Samplers  and  Tapestry  Em- 
broideries.    English  Text. 

Modes  et  Maniers  D'.4ujourd'Hui.  Illustrated  by 
Lepape,  1912.  Martin,  1913,  and  Barbier,  1914. 
French  text. 

Nerill.  Ralph.  British  Military  Prints.  Illustrated. 
English  text. 

FalU:  D.  W.  C.  Army  and  Navy  Information  of  the 
Warring  Powers.     English  text. 

IVietz.  Ecclesiastical  Costume.  2  vols.  German 
text. 

Villcrmont.  Comte.i.ie  de.  Histoire  de  la  Coiffure 
I'Y-niininc.     Illustrated.     French  text. 

Darcy.  Richard.  A  History  of  Mourning.  Illus- 
trated.    English  text. 

Rhcad.  a.  \i:  History  of  the  Fan.  Illustrated. 
English  text. 

Ridfcrn.  \y.  B.  Royal  and  Historic  Gloves  and 
Shoes.     Illustrated.     English  text. 

The  Brooklyn  Library.  A  Reading  and  Reference 
List  on  Costume,  arranged  alphabetically. 

For  IVriodical  References  see  Poole's  Index  and 
the  Readers'  Guide. 

iXcir  VorL-  Public  Library.  .\rt  Division.  In  prep- 
aration. Textile  list  and  CostMnie  list.  Each  not 
sis  books  and   articles,   hut    parts  of  books 


Henry  fur  FelL\  Jungmunn  &  C'ii 


^^ 


ARTISTS    WHOSE    WORK    HAS    BEARING    ON    PERIOD 
FABRICS  OR   COSTUME 


ARTISTS  WHOSE   WORK   HAS  REARING   ON   PERIOD 
FARRIGS  OR   GOSTUME 


Greek  and  Roman  Sculpture.     (See  University  Prints,  Students'  Series  A.) 

Mosaic.    Emperor  Justinian  and  his  suite.    Byzantine,  6th  century,  at  Ravenna. 

San  Vitale. 


ca.  (circa)  =  about. 

Italian  Painting 

Ambrogio  da  Predis  (School  of  Milan),  fl.  1482- 
1506. 

Bartolommeo  Veneto  (Venetian  School),  fl.  1505- 
1555. 

Bassano,  L.  da  P.  (Venetian  School).     1557-1622. 

Bissolo,  F.  (Venetian  School).     1464-1528. 

Botticelli,  S.  (Florentine  School).     1444^1510. 

Bronzino,  A.  (Florentine  School),     ca.  1502-1572. 

Butinone,  B.  J.  (School  of  Milan),  ca.  1436- 
1507. 

Calisto  Piazza  da  Lodi  (School  of  Brescia),  fl. 
1521-1562. 

Carnevale,  Fra  (School  of  Umbria  and  Perugia). 
15th  century. 

Carpaccio,  V.  (Venetian  School),  ca.  1455-  ca. 
1525. 

Cimabue  (Florentine  School),     ca.  1240-1302. 

Conti,  Bernardino  de'  (School  of  Milan),  fl. 
1490-.? 

Cossa,  F.  (School  of  Ferrara).     ca.  1435-1480. 

Crivelli,  C.  (Venetian  School),     ca.  1430-ca.  1493. 

Domenico  Veneziano  (Florentine  School),  ca. 
1410-1461. 

Duccio  di  Buoninsegna  (School  of  Siena),  ca. 
1260-1320. 

Ghirlandajo,  D.  and  pupils  (Florentine  School). 
1452-1525. 

Giotto  and  pupils  (Florentine  School).      1266-1337. 

Giovanni  di  Paolo  (School  of  Siena),  ca.  1403- 
1482. 

Giovanni  di  Piamonte.    fl.  15th  century. 

Giovenone,  G.  (School  of  Vercelli).  ca.  1490- 
1555. 

Jacobello  del  Fiore  (Venetian  School),    fl.  1400- 


fl.  =  flourished. 

Lorenzetti,  A.  and  P.  Follower  of  (School  of  Siena) 
fl.  1323-1348-^.  1305-1348. 

Mantegna,  A.  (School  of  Padua).     1431-1506. 

Maratti,  C.     1625-1713. 

Masolino.     (Florentine  School.)     1384-ca.  1435. 

Moroni,  G.  B.     1520-1578. 

Palma  Vecchio.     Venetian  School.     1480-1528. 

Parmigianino  (School  of  Parma).     1504-1540. 

Perugino,  P.     (Umbrian  School).     1446-1523. 

Pesello,  G.  (Florentine  School).     1367-1446. 

Piero  di  Cosimo  (Florentine  School).     1462-1521. 

Pinturicchio.  B.  (Umbrian  School).     1454-1513. 

Pisanello.     ca.  1397-1455. 

Pulzone,  S.     ca.  1562-cffl.  1588. 

Romanino,  G.    (School  of  Brescia),   ca.  1485-1566. 

Rotari,  P.  dei,  1707-ca.  1762. 

Sellajo,  J.  del  (Florentine  School),     ca.  1441-1493. 

Signorelli,  Luca  (Umbro-Florentine  School) .  1441- 
1523. 

Sodoma,  II  (School  of  Vercelli).     ca.  1477-1549. 

Spinello,  G.  (Florentine  School).     1387-1452. 

Stefano  da  Zevio  (School  of  Verona),  ca.  1393- 
1451. 

Titian  (Venetian  School).     1477-1576. 

Vasari,  G.     1511-1574. 

Veronese,  P.  (Venetian  School).     1528-1588. 

Verrocchio,  A.  (Florentine  School).     1435-1488. 

Vivarini,  A.     (Venetian  School),    fl.  1444-1470. 

Zuccaro,  F.  ca.  1543-1609. 

Masters  dei  Cassoni. 

Painting,  Byzantine  School. 

Painting,  Florentine  School. 

Painting,  Italian  School. 

Painting,  North  Italian  School. 

Paintmg,  Umbrian  School.     16th  century. 

Painting,  Venetian  School.     16th  century. 

Painting,  Venetian  School. 


Page  One  Hundred  Thirty-two 


LIST  OF  ARTISTS 


Dutch  Painting 
Codde,  P.     1610-1660. 
Cornelisz,  J.     1-175-1560. 
Cronenburch.  A.  van.     16th  century. 
Cu\T),  J.  G.     1575-1649. 
Dou,  G.     1613-1675. 
Hals,  F.,  the  elder.     1580-4-1666. 
Heist,  B.  van  der.     1613-1670. 
Honthorst,  W.  van.     1604-1666. 
Jacobsz,  L.     11.94-1533. 
Janssen,  P.     2d  half  of  17th  century. 
Joest  von  Calcar.  J.     1460-1519 
Ketel,  C.     1546-1616. 
Keyser,  T.  de.     1596-1667  (1679.^). 
Mesdach.  S.     1st  half  17th  century. 
Metsu,  G.     1630-1667. 
Mierevelt.  M.  J.     1567-1641. 
Molcnaer,  J.  M.     ?-1688. 
Morcelse,  P.     1571-1638. 
Mostaert,  J.     1474-1556. 
Mytens,  D.,  the  elder.     1590-1658. 
Palaniadesz,  A.     1601-1673. 
Ravesteyn,  A.  van.     17th  century. 
Santvoort,  D.  D.     1610-1680. 
Stcen,  J.     ca.  1626-1679. 
Tcr  Boreh,  G.     1617-1681. 
Troost.  C.     1697-1750. 
Venntv  A.  van  der.     1589-1662. 
Acrmeer  van  Delft,  J.     1632-1675. 
Verspronck,  J.  C.     1597-1602. 
Voort,  C.  van  der.     1576-1624. 


Wilt.  T.  van  der. 
Painlinj,'.  Dutch. 
Paiuliufi,  Dutch. 
Paintiiif,'  Dutili. 
Painting,  Dutcli. 


1659-1733. 
lltl:  century. 
1 5th  century. 
Kith  century. 
17 til  century. 


Flemi.sh  Painting 
Bles,  H.  (le.     1480-1.550. 
Blyenberch,  A.     1566-1625. 
Bouts.  A.     ?-1548. 
Bout.s,  D.     1410-1475. 
Campin,  R..  1375-1444. 
Chanipaisnc,  P.  van.     1602-1674. 
Claeis.sens,  P.,  the  elder.     1500-1576. 
Cleve,  J.  van,  the  elder,  ca.  1485-1540. 
Coffermans,  M.    jl.  1549  -1575. 
Cristus,  P.     1400(?)-1473. 
David,  G.     1450-1523. 
Dyck,  A.  van.     1599-1641. 


Eyek,  J.  van.     ca.  1381-1440. 

Francken,  F.,  tlie  younger.     1581-1642. 

Geerarts,  M.,  the  younger.     1561-1635. 

Goes,  H.  van  der.     .'-1482. 

Heere,  L.  de.     1534-1584. 

Isenbrant,  A.     Before  1510-1S51. 

Justus  of  Ghent     ca.  1470.'' 

Mabuse,  J.  van.     1470-ca.  1533. 

Marniion,  S.     ca.  1425-1489. 

Massys,  Jan.     1509-1575. 

Master  of  the  Legend  of  St.  Lucy.     15th  century. 

Master  of  the  St.  LTrsula  Legend.     15th  century. 

Memlinc,  H.  (Memling).     ca.  1430(.?)-1494. 

Moro,  A.     1512-1576. 

Pourbus,  F.,  the  elder.     1541-1581. 

Pourbus,  F.,  the  younger.     1570-1622. 

Pourbus,  P.,  the  younger.     1510-1584. 

Roynicrswale,  M.  van.     1497-1567. 

Rubens,  P.  P.     1577-1640. 

Somer,  Paul  van.     1570-1621. 

Vos,  C.  de,  the  elder.     1585-1651. 

Weyden,  R.,  van  der.     1400-1464. 

Painting,  Flemish.     16th  century. 

Painting,  Flemish,  of  Brussels.     15th  century. 

(icrman  Painting 
Bruyn,  B.,  tlie  oKlor.     1493-1655. 
Bruyn,  B.,  the  younger,  ca.  1.530-fa.  1610. 
Cranacli,  L.,  the  elder.     1472-1553. 
Diinwegge,  H.  and  V.     1520-.' 
Master  of  tlie  Life  of  the  Virgin,    ft.  ca.  1460-1480. 
Master  of  St.  Bartholomew,     ca.  1490-1510. 
Master  of  St.  Severin.     .'-1515. 
Mult-scher,  H.    ca.  1440-1467. 
Neufchritel,  N.     ca.  1527-1590. 
Pacher,  M.     14,30-1498. 
Pley.leinvurflF.     1450-1494. 
Ratgeb.  J.     16th  century. 
Ring,  L.     ca.  1521-1.583. 
R00S.T.     1638-1698. 
Sc'heits,  M.     1640-1700. 
Seisenegger,  J.     1505-1567. 
Wolgemut,  M.     1434-1519. 
Painting,  Gorman.     15th  century.  ^ 
Painting,  German.     16th  century. 

Spanish  Painting 

Carreno,  J.  de  M.  1614-1685. 
Coello,  A.  S.  1513(.')-1590. 
Gonzalez,  B.     1564-1627. 


LIST  OF  ARTISTS 


Page  One  Hundred  Thirty-three 


■   Goya  y  Lucientes,  F.  J.  de.     1746-1828. 

Liano,  F.  de.     1556-1625. 

Pantoja  de  la  Cruz,  J.     1551-1609. 

Velasquez.     1599-1660. 

Vermejo,  B.    fl.  ca.  1490. 

Zurbaran,  F.  de.     1598-1662. 

Painting,  Spanish.     15th  century. 

Painting,  Spanish.     16th  century. 

Painting,  Spanish.     17th  century. 

Painting,  Hispano-Flemish.     1451. 
Russian  Painting 

Ritt,  A.     1766-1799. 

French  Painting 

Bourdichon,  J.     1457-1521. 

Clouet,  Franyois.     1500-1572. 

Corneille  de  Lyon.     ^-ca.  1574. 

Coypel,  C.  A.     1694-1752. 

David,  L.     1748-1825. 

Drouais,  F.  H.     1727-1775. 

Dumont,  J.     1701-1781. 

Fantin-Latour.     1836-1904. 

Favray,  A.  C.  de.     1706-1789. 

Fouquet,  J.     ca.  1415-ca.  1480. 

Fragonard,  J.  H.     1732-1806. 

Froment,  N.     15th  century. 

Gandara,  A.  de  la.     1862-. 

Gerard,  F.  P.  S.     1770-1837. 

Greuze,  J.  B.     1725-1805. 

Hilaire,  J.  B.     18th-19th  century. 

Huet,  J.  B.     1745-1811. 

Ingres,  J.  A.  D.     1780-1867. 

Lancret,  N.     1690-1743. 

Largilliere,  N.  de.     1656-1746. 

La  Tour,  M.  Q.  de.     1704-1788. 

Le  Brun,  (Mme.)  Elisabeth  Louise  Vigee.     1755- 
1842. 

Lefebvre,  Jules  Joseph.     1834-.? 

Lefevre,  Robert.     1756-1830. 

Liotard,  Jeau  fitienne.     1702-1789. 

Loo,  C.  A.^  van.     1705-1765. 
^  Manet.     Edouard.     1833-1883. 

Mares,  Pierre.     15th  century. 

Master  of  Moulins.     15th  century. 

Nattier,  Jean  Marc.     1685-1766. 

Oudry,  P.     16th  century. 

Pater,  Jean  Baptiste  Joseph.     1695-1736. 

Perreal,  Jean.    fl.  1483(?)-1528. 

Pesne,  Antoine.     1683-1757. 

Prud'hon,  Pierre  Paul.     1758-1823. 


Quesnel,  FranQois.     ca.  1544-1619. 

Renoir,  Firmin  Auguste.     1841- 

Rigaud,  Hyacinthe.     1659-1743. 

Rioult,  Louis  Edouard.     1780-1855. 

Thevenot,  Arthur  Frangois.     19th  century. 

Tocque,  Louis.     1696-1772. 

Vestier,  Antoine.     1740-1824. 

Watteau,  Jean  Antoine.     1684-1721. 

Painting,  French.     15th  century. 

Painting,  French,  of  Amiens.     15tli  century. 

Painting,  French,  of  Amiens.     16th  century. 

English  Painting. 
Beechey,  Sir  W.     1753-1839. 
Closterman,  J.     1656-1713. 
Corvus,  J.     16th  century. 
Cotes,  F.     1726-1770. 
Gainsborough,  T.     1727-1788. 
Hogarth,  W.     1697-1764. 
Hoppner,  J.     1758-1810. 
Jervas,  C.     1675-1739.     (Irish  Pnt.) 
Lawrence,  Sir  Thomas.     1769-1830. 
Raeburn,  Sir  Henry.     1756-1823. 
Ramsay,  Allan.     1713-1784. 
Reynolds,  Sir  Joshua.     1723-1792. 
Richardson,  J.,  the  elder.     1665-1745. 
Romney,  G.     1734-1802. 
Sharpies,  J.,  the  elder,     ca.  1750-1811. 
Talfourd,  F.     1815-1874. 
J  Ward,  E.  M.     1816-1879. 
Painting,  English.     15th  centiu'y. 
Painting,  English.     16th  century, 

American  Painting 
Badger,  Joseph.     1708-1765. 
Blackburn,  J.  B.     1700-1760. 
Copley,  J.  S.     1737-1815. 
Feke,  R,     1724-1769. 
Frothingham,  J.     1786-1864. 
Greenwood,  J.     1729-1792. 
Inman,  H.     1801-1846. 
Jarvis,  J.  W.     1780-1834. 
Morse,  S.  F.  B.     1791-1872. 
Osgood,  C.     18th-19th  century, 
Pratt,  M.     1734-1805. 
Smybert,  J.     1684-1751. 
Stuart,  G.     1755-1828. 
Sully,  T.     1783-1872. 
Trumbull,  J.     1756-1843. 
Waldo,  S.  L.     1783-1861. 


CouTUay  0/  h'arper'6 


From  a  colored  cover  design  by  Bruuelleschi. 


INDEX 


INDEX 


Accessories,  6 

Acropolis,  103 

Action,  10 

Adam  school,  97 

Advertising,  department  store  illustrated,  49 

Advertising,  magazine,  half-tone,  57 

Advertising,  magazine,  illustrated,  51 

Advertising,  magazine,  pen  and  ink  illustrated,  53 

Advertisement,  magazine  illustrated,  46 

Age,  Golden,  103 

Age  of  Pericles,  103 

Air  brush,  illustration,  35 

Alfred  the  Great,  106 

Analogous  harmony,  62 

Anatomy,  Preface,  13,  23 

Animal  arrangement,  illustrated,  94 

Anne  of  Brittany,  costume  illustrated,  112 

Anne,  Queen,  97 

Anne,  Queen,  of  England,  117 

Applying  color,  9,  70-71 

Armorial  dress,  110 

Armorial  dress,  illustrated,  93,  109 

Arms,  14 

Arms,  illustration,  21 

Arthur,  King,  106 

Artists  whose  work  has  bearing  in  period  fabrics  or 

costume,  131-133 
Asp,  Egyptian,  102 

Austria,  Anne  of.  Queen  of  France,  116 
Avery,  Claire,  54,  59 

Background,  65 

Back  view,  form  illustrated,  1,  2,  3,  4 

Balance,  65 

Balance,  of  figure,  22 

Barbier,  George,  42,  54,  72 

Barry,  Countess  du,  87,  117 

Basquine,  113 

Batchelder,  Ernest  A.,  30 

Baviere,  de  Isabeau,  95 


Beardsley,  Aubrey,  42 

Beardsley,  Aubrey,  illustration,  54 

Beer,  6 

Ben  Day,  31,  39,  40 

Ben  Daj'  color,  illustrated,  62 

Ben  Day,  illustrated,  33,  49,  55 

Ben  Day,  magazine,  illustrated,  50 

Betrothal  of  Saint  Catherine,  95 

Bibliography,  127-128 

Binary  colors,  61 

Birch,  16 

Bliaud,  108 

Blocking  in,  10 

Boots,  musketeer,  116 

Box  plaits,  38 

Braie,  110 

Bristol  board,  kid  finish,  43 

Bristol  board,  plate,  43 

British  or  masculine  costume  illustrated,  119 

Brittany,  Anne  of.  111,  112 

Brummel,  Beau,  78 

BruneUeschi,  42,  54, 134 

Brush,  air,  32 

Brush  work,  52-53 

Brush  work,  illustrated,  40,  45,  46,  53,  54 

Brushes,  71 

Brushes,  for  wash  work,  48 

Buddhism,  91 

Bustle,  123 

Buttons,  illustration,  5 

Byzantine  influence,  107 

Callot,  Sojurs,  6 

Carlyle,  45 

Catalogue,  ink  work,  illustrated,  46 

Catalogue  page,  illustrated,  30,31,  35 

Catalogue,  pattern  work  illustrated,  52 

Catalogue,  wash,  50 

Catalogue  work  illustrated,  47,  51 

Charlemagne,  107 


Page  One  Hundred  Thirty-eight 


INDEX 


Charlemagne,  daughters  of,  9-1 

Charles  I,  King  of  England,  86,  114 

Charles  II,  King  of  England,  86,  116 

Charles  VL,  95 

Charles  X,  121,  122 

Charles  the  Simple,  95 

Chart,  color,  65-66 

Checks,  illustrated,  41,  42 

Chemise,  108 

Cheruet,  6 

Chicing,  10,  13 

Chiffon,  37 

Chiffon,  illustrated,  9 

Children,  59 

Children,  illustrated,  13,  16 

Children,  lay-out  illustrated,  41 

Children,  proportions,  16 

Children,  proportions  illustrated,  17 

Chinese  influence,  97 

Chinese  ornament,  98 

Chinese  while,  37 

Chiton,  Doric,  103 

Chiton,  Greek,  103 

Chiton,  Ionic,  103 

Chlamys,  Greek,  103 

Circle,  construction,  36 

Classic  Period.  Greek.  103 

Clifford.  Period  Furnishings,  96 

Cloak,  Egyptian  illustrated.  102 

Cloaks,  Egyptian.  101 

Colbert,  97.  98 

Collar,  flat,  116 

Cold  color,  63 

Collection,  documents,  36 

Collection,  swipe  ,36 

Color,  61-71 

Color,  applying,  9,  70-71 

Color,  binary,  63 

Color  chart,  65-66 

Color,  complementary,  63 

Color,  Dr.  Frank  Crane,  67-70 

Color,  intensity  or  chroma,  62 

Color,  materials,  65,  70,  71 

Color,  normal.  63 

Color,  primaries,  63 

Color  scale.  63 

Color  schemes,  67 

Color,  significance,  66,  67 

Color  sketch,  6 

Color,  tempera,  9 


Color,  theory,  63 

Color,  tone,  tint,  shade,  hue,  63 

Color,  value,  66 

Color,  warm,  63 

Color,  water,  9 

Color,  with  wash,  50 

Colors,  tertiary,  63 

Compass,  36 

Complementary  colors,  63 

Complementary  harmony.  65 

Composition,  30,  52,  53 

Composition,  reference  books,  30 

Construction,  head  illustrated,  17 

Construction  of  figure  illustrated,  15 

Construction,  toothpick,  22 

Consulate,  121 

Consulate  fashions,  illustrated,  120 

Convention,  i'21 

Coptic  design,  91 

Copying,  10,  37 

Corset,  illustrated,  39 

Corsets,  114,  120,  122 

Costume,  Consulate.  120 

Costume  Design.  Preface 

Costume.  Directoire,  illustrated,  119 

Costume.  Egyptian.  101-102 

Costume  Egyptian,  illustrated,  101-102 

Costume,  18th  century,  illustrate*!,  117,  118,  119 

Costume,  First  Empire,  illustrated.  120 

Costume.  Gallic,  illustrated,  105 

Costume,  Gallo-Roman.  illustrated,  105 

Costume,  Greek,  103-104 

Costume,  Homeric.  103 

Costume,  illustration.  Preface 

Costume,  Louis  XIV,  illustrated,  115 

Costume,  Louis  XV,  illustrated,  117,  118 

Costume,  Louis  XVI,  illustrated,  119 

Costume,  Louis  XVIII,  illustrated,  121 

Costume,  Louis  Philippe,  illustrated,  121 

Costume,  masculine,  British  or  English,  120 

Cost\mie,  IMinoan  or  Mycenaean.  103 

Costume,  Pre- Hellenic,  103 

Costume,  Restoration,  illustrated,  121 

Costume,  reference  books,  127,  128 

Costume,  Roman,  104-105 

Costume,  Romantic  Period,  illustrated,  121 

Costume,  Watteau,  illustrated,  117 

Costumes,  Restoration,  illustrated,  121 

Costumes.  2d  Empire,  illustrated,  122 

Cotle,  110 


INDEX 


Page  One  Hundred  Thirty-nine 


Crane,  Dr.  Frank,  color,  67-70 
Crayon,  pencil.  48,  50,  51,  124 
Crepe,  illustrated,  5 
Cromwell,  Oliver,  116 
Cromwellian  period,  86 
Crown,  red,  102 
Crown,  white,  102 
Crusades,  95,  108 

Dancing  girls,  Egyptian,  102 

Dark  Ages,  Egyptian,  101 

David,  Jacques  Louis,  87 

Decorative  detail  illustrated,  44,  45 

Decorative  fashion  work  illustrated,  44,  45 

Decorative  half-tone,  56 

Decorative  pen  and  ink,  40 

Decorative  pen  and  ink,  illustrated,  53 

Decorative  treatment,  38 

Department  store  advertising,  39 

Design,  adaptation  illustrated,  91,  75,  76 

Design,  costume,  75-79 

Design,  fundamentals  of,  65 

Design,  influences,  91 

Design,  primitive,  91 

Design,  sources,  76-78 

Design,  symbolic  significance,  91 

Designers,  6 

Detail,  decorative,  illustrated,  44,  45 

Detail,  illustrated,  42 

Details,  5-6 

Diana,  Dutchess  of  Valentinois,  113 

Directoire,  98,  120,  121 

Direotoire  and  Empire  design,  98 

Directoire  costume,  illustrated,  119 

Directoire  period,  97 

Directorate,  87 

Directory,  121,  122 

Documents,  36,  86 

Documents,  use  illustrated,  37-38 

Dominant  harmony,  62 

Doric  chiton,  103 

Dotted  materials,  37 

Double  complementary  harmony,  65 

Doublet,  114 

Dow,  Arthur,  30,  52,  63 

Drapery,  38 

Drapery,  illustrated,  85 

Drawing,  without  models,  13-23 

Drecoll,  6 

Dress  and  History,  3d  to  11th  Century,  106-107 


Dress,  Consulate,  120 

Dress,  18th  century,  117-121 

Dress,  18th  century  illustrated,  117,  118,  119 

Dress,  Egyptian,  92,  101,  102 

Dress,  11th  century,  108 

Dress,  First  Empire  illustrated,  120 

Dress,  14th  and  15th  centuries  illustrated,  110 

Dress,  15th  century.  111 

Dress,  Greek,  92 

Dress,  Louis  XIV,  illustrated,  115 

Dress,  Louis  XV,  illustrated,  117,  118 

Dress,  Louis  XVI,  illustrated,  119 

Dress,  Louis  XVIII,  illustrated,  121 

Dress,  Louis  Philippe,  illustrated,  121 

Dress,  19th  century,  121 

Dress,  parti-colored  93,  109,  110, 

Dress,  Restoration  illustrated,  121 

Dress,  Roman,  93,  104,  105 

Dress,  Romantic  Period,  illustrated,  121 

Dress,  second  Empire,  illustrated,  122 

Dress,  16th  century,  113,  114 

Dress,  17th  century,  116 

Dress,  12th  century,  108 

Dress,  13th  and  14th  centuries,  110 

Dress,  Watteau,  illustrated,  117 

Drian,  illustration.  Frontispiece 

Drian,  47,  54 

Dryden,  Helen,  16,  47,  54 

Dryden,  Helen,  illustration,  16,  24 

Du  Maurier,  George,  88 

Dunlop,  J.  M.,  Preface,  14 

Dtirer,  Albert,  study  of  hands,  19 

Dtirer,  Albrecht,  38 

Durer,  Albrecht,  illustration,  85 

Duval,  Preface 

Dyes,  ancient,  92 

Early  fabrics  and  designs,  91 

Early  Renaissance  costume,  illustrated,  112 

East  India  Company,  97 

East,  influence  of,  91,  93 

Eastern  character,  97 

Eastern  design,  91 

Editorial,  magazine,  56 

Editorial,  magazine,  illustrated,  44,  45 

Editorial,  magazine  color,  illustrated,  62 

Editorial,  newspaper,  46 

Editorial,  pen  and  ink,  38,  39 

Egyptian  costume,  101, 102 

Egyptian  costume  illustrated,  92,  101,  102 


Page  One  Hundred  Forty 


INDEX 


Egyptian  dress,  95,  101,  102 

Egyptian  emblems,  102 

Egyptian  fabrics,  91,  92 

Egyptian,  Old  Kingdom,  101 

Egyptian  symbols,  102 

Eighteenth  century,  86,  88 

Eighteenth  century,  costume  reference  books.  110,123 

Eighteenth  century  costume  illustrated.  117,118.119 

Eighteenth  century  dress.  117-121 

Eighteenth  century,  late,  illustrated.  119 

Eleventh  century  costume,  illustrated,  107 

Eleventh  century  dress,  108 

Elizabeth,  Queen  of  England.  97,  113 

Elizabethan  collar,  8G 

Elizabethan  era,  85 

Ellipse,  constructing,  30 

Ellipse,  construction  illustrated,  37 

Emblems,  Egyptian,  102 

Embroidery,  illustrated,  42 

Embroidery,  wash  work,  38 

Empire,  88,  122 

Empire  costume,  98 

Empire,  1st,  123 

Empire,  2d,  122 

Empire  style,  87 

Enlarging,  illustrated,  29 

Ert6,  42,  47,  54 

Ert6,  illustrations,  44,  45 

Etching,  54,  60 

Fabric,  classification.  96 

Fabric,  doc^umenls.  rclerencc  to,  131-133 

Faces,  16-18 

Fans.  116 

Feathers,  reali  .tic  treatment,  illuslratcd,  47 

Feature  cut  illustrated,  50 

Feet,  19 

Fichu,  107 

Fifteenth  century.  84.  85 

Fifteenth  century  dress,  111 

Fifteenth  century  dress,  illustrated,  110 

Fifteent    century  reference  books,  111 

Figure,  13-23 

Figured  material,  illustrated,  5 

First  Empire,  123 

First  Empire  fashions  illustrated,  120 

Flowered,  material,  illustrated,  5 

Flowered  materials,  37 

Fontange  headdress,  116 

Fontange  headdress,  illustrated,  115 


Fontanges.  Mile.  de.  97,  116 
Fourteenth  century  dress,  110 
Fifteenth  century,  reference  books,  111 
Fourteenth  and  fifteenth  century,  dress  illustrating, 

110 
Formal  arrangement,  illustrated,  94 
Forms.  1-3 
Forrester,  Fern.  54 
Francis,  6 
Francis  I,  95 

Francis  I,  King  of  France,  113 
Fragonard,  86 
Franks,  107 

Front  view,  form  illustrated,  1.  2.  3,  4 
Fur,  38 

Furs,  decorative  illustrated,  45 
Furs,  realistic  method  illustrated,  47 

Gainsborough,  86 

Gallic  costume  illustrated.  105 

Gallo-Roman  costume  illustrated,  105 

Gathers,  38 

Gathers,  illustration,  5 

Gauls,  costume,  105.  106 

Gauls,  history  and  dre.ss,  105,  106 

Gauls,  reference  books,  106 

George  I,  George  11,  and  George  III,  117 

G<-orge  III,  87 

George  IV,  121 

Girdle,  Greek,  103 

Globes,  Egyptian,  102 

Gloves,  107 

Gold  thread,  use  of,  95 

Golden  Age,  103 

Gorget,  illustrated,  83 

Gothic  architecture.  84 

Gothic  tapestry,  illustrated,  84 

Greek  Classic  Period,  103 

Greek  costume,  103,  104 

Greek  costume,  illustrated.  103.  104 

Greek  Doric  dress  illuslratcd,  02 

Greek  dress,  92 

Greek  girdle,  103 

Greek  history  and  dress,  103,  104 

Greek  Influence,  91 

Greek  Law,  6.  27,  28 

Greek  Law,  illustrated.  27 

Green,  Elizabeth  Shippen,  16 

Greenaway,  Kate,  10,  87 

Greenaway,  Kate,  style  illustrated.  87 


INDEX 


Page  One  Hundred  Forty-one 


Hair,  18  ' 

Hair,  illustration,  18 

Half-tone,  see  Wash  references. 

Handkerchiefs,  107 

Hands,  Frontispiece,  8,  19 

Hands,  illustration,  7,  18,  19,  20 

Harmonies,  62-63 

Harmonies  of  difference,  65 

Harmonies  of  likeness,  62 

Harmony,  65 

Hat,  design  illustrated,  75 

Hats,  6 

Hats,  designing,  78,  79 

Hats,  illustration,  8,  24,  79 

Hatton,  Richard  G.,  Preface 

Head,  13, 14 

Head,  illustrated,  17 

Heads,  16,  17 

Heads,  children,  16 

Headdress,  Fontange,  116 

Headdress,  Fontanges,  illustrated,  115 

Headdress,  hennens,  110 

Headdress,  horned,  83 

Heading,  illustrated,  54 

Headings,  42 

Hem,  illustrated,  27 

Hennin,  headdress,  illustrated,  110 

Hennins,  110 

Henry  II,  97 

Henry  VIII,  85 

Henry  VIII,  King  of  England,  111 

Heraldic  forms,  95 

Himation,  Greek,  93,  103 

Hispano-Moresque  fabrics,  95 

Historic  costume,  101-123 

History  and  dress,  Gauls,  105-106 

History  and  dress,  Greek,  103-104 

History,  Roman,  104 

History,  3d  to  11th  century,  106 

History,  11th  century,  107-108 

History,  12th  century,  108 

History,  13th  and  14th  centuries,  108-110 

History,  15th  century,  110-111 

History,  16th  century,  111-113 

History,  17th  century,  114-116 

History,  18th  century,  117 

Hogarth,  96 

Holbein,  Hans,  85 

Holbein,  Hans,  illustration,  86 

Hollar,  86 


Homeric  costume,  103 
Hoop,  117 
Horizontal  lines,  65 
Houppelande,  96,  110 
Houppelande,  illustrated,  84,  110 
Hue,  61 

Imagination,  77 

"  Impossibles,"  costume  illustrated,  119 

"  Incroyables,"  costume  illustrated,  119 

"  Incroyables,"  "uniniagineables,"  "  merverilleuses' 

and  "impossibles,"  121 
Indian  lawns,  122 
Indian  shawl,  98 
Individuality,  43,  45,  52 
Influences  in  design,  91 
Ink,  42 

Intensity,  laws  governing,  65 
Interregnum,  116 
Ionic  chiton,  103 
Italian  14th  century  costume  illustrated,  93 

Jabot,  116 

Jackets,  123 

Jacobean,  97 

James  I,  86 

James  I,  King  of  England,  114 

James  II,  King  of  England,  116 

Japanese  prints,  44,  47 

Jeanne  d'Arc,  96 

Josephine,  121 

Jumping,  illustrated,  22 

Kerchiefs,  Egyptian,  102 

Lace,  illustrated,  42 

Laces,  37-38 

La  Valliere,  Louise,  97 

Lawns,  Indian,  122 

Lawrence,  86 

Laws  for  use  of  color,  65 

Lay-out,  illustrated,  41 

Lay-out,  finished,  illustrated,  30-31,  35,  41,  47,  51 

Lay-outs,  29,  30 

Lay-outs,  rough,  illustrated,  29 

Leaping,  illustrated,  22 

Legs,  14 

Lepape,  George,  42,  54,  80 

Lettering,  book  on,  36 

Line  cut,  see  Pen  and  ink  references. 


Page  One  Hundred  Forty -two 


INDEX 


Lines,  45 

Lord,  Harriet,  34 

Lotus,  Eg^-ptian,  102 

Louis  Philippe,  121,  122 

Louis  Philippe  costume  illustrated,  121 

Louis  XI,  95 

Louis  XIII,  King  of  France,  IIC 

Louis  XIV,  117 

Louis  XIV,  King  of  France,  86,  90,  97,  116 

Louis  XIV  costume  illustrated,  115 

Louis  XV,  87,  97,  98,  117 

Louis  XV,  costume  illustrated,  117,  118 

Louis  X\l,  87,  97,  98,  117,  120 

Louis  XVI,  costume  illustrated,  118,  119 

Louis  XVI,  period  of,  98 

Louis  XVIII.  121,  122 

Louis  XM^II,  costume  illustrated,  121 

Lutz,  E.  G.,  Preface,  8 

Magazine,  advertising,  57 

Magazine,  advertising  illustrated.  53 

Magazine,  editorial,  56 

Magazine,  editorial  illustratcil,  62 

Magazine,  pattern  drawing,  57 

Maintenon,  Madame  de,  97,  116 

Mantles,  118 

Margins,  6 

Marie  Antionette,  87,  98 

Marie  Antionette,  strips,  98 

Marie  Ix)uise,  121 

Marshall,  Preface 

Martial  and  Arniand,  6 

Materials,  black.  37 

Materials,  color,  65,  70,  71 

Materials,  for  crayon  iwmkII  work,  51 

Materials,  wash,  48 

McQuin,  47,  54 

Medici.  Catherine  de,  97.  113 

Medicis.  Marie,  113 

Memling,  Hans,  painting  of,  95 

Mere<Iith,  Owen,  88 

■'  Marveilleuses, "costume  illustrated,  119 

Methoil,  catalogue  wash  method   Ihistrated,  58 

Method,  decoration  ilhistrate<l,  44,  45 

Method  of  reproducing  two  colors,  68.  69 

Method,  realistic  illustrate<l.  39 

Method,  realistic  treatment  illustrated,  40,  46 

Method,  textile  designing,  54-59 

Monochromatic  harmony,  62 

Montespan,  Madame  de,  97,  116 


Monvel,  Boutet  de,  96,  111 
Mosaic,  Byzantine,  6th  century,  131 
Moyen  age,  83 
Munsell,  A.  H.,  61 

Museum,  Cooper  Union,  Coptic  designs,  92 
Museum,  Metropolitan,  as  a  source  of  design  illus- 
trated, 76 
Museum,  Metropolitan,  Coptic  room,  92 
Museum,  Metropolitan,  period  dolls,  88 
Museum  Metropolitan,  tapestry  from,  84 
Musketeer  boots,  116 
Muslins,  122 
Mycenaean  costume,  103 

Napoleon,  87,  98 

Napoleon  Bonaparte,  121 

Napoleon,  Louis,  122 

Napoleon  m.  121.  122 

Nattier,  86 

Neilson,  Kay.  42 

Neutralization.  65 

New  empire.  Egj-ptian.  101,  102 

Ninth  and  tenth  centuries  costinne  illustrated,  107 

Nineteenth  century.  87.  88 

Ninteenth  century  dress.  121,  123 

Nix'turne  i>y  Whistler  as  inspiration.  77 

Normal  color.  61 

Ogival  forms.  94 

Old  Kingdom,  Egyptian,  101 

One  motle  harmony,  62 

Openings,  4 

Oriental  characteristics,  97 

Oval,  construction.  13,  14 

I'aciMila,  Roman,  104 

Paintings,  having  bearing  on  costume,  131-133 

Paintings,  having  bearing  on  fulirics,  131-133 

Paisley  shawl,  98 

Palla,  Roman,  104 

Panier,  117 

Paper,  carbon,  32 

Paper,  frisket,  32 

*aper,  graphite,  32 

'aquin,  6 

'arasol,  illustrated,  38 

'arsons,  Frank  Alvah,  30 

'arti-colored  costume,  110 

'arti-colored  costume  illustrated,  109 

'arli-colored  dress,  95 


INDEX 


Page  One  Hundred  Forty-three 


Parti-colored  dress  illustrated,  93 

Pattern  drawing,  magazine,  57 

Pattern  drawing,  newspaper,  39 

Pattern  work,  magazine  illustrated,  50 

Pattern  work,  newspaper  illustrated,  48 

Pen  and  ink,  38-47 

Pen  and  ink,  black  detail  work  illustrated,  40 

Pen  and  ink,  black  material  illustrated,  40 

Pen  and  ink,  catalogues,  40 

Pen  and  ink,  catalogue  illustrated,  52 

Pen  and  ink,  decorative,  40 

Pen  and  ink,  decorative  work  illustrated,  53 

Pen  and  ink,  illustrated,  46 

Pen  and  ink,  magazine  advertising  illustrated,  53 

Pen  and  ink,  magazine  work,  39-47 

Pen  and  ink,  pattern  work  illustrated,  40,  52 

Pen,  ruling,  36 

Pens,  43 

Pencil  crayon,  48 

Pencil,  crayon,  50,  51 

Peplum,  116 

Period  fabric  design,  91-98 

Period,  how  influenced,  silhouette,  83-88 

Periods  in  designing,  77,  78 

Periods,  painting  as  references,  131-133 

Persian  verdure,  96 

Personal  characteristics,  75 

Personality,  79 

Pericles,  age  of,  103 

Perneb,  101 

Petit  Trianon,  120 

Phrygean  bonnet,  108 

Pilgrims,  86 

Plaids,  37 

Plaids,  illustrated,  41 

Plaids,  shepherd,  37 

Plaids,  shepherd's,  illustrated,  42 

Pleating,  illustrated,  5 

Plaits,  box,  38 

Plaits,  side,  38 

Pleats,  Watteau,  118 

Poiret,  Paul,  6 

Pompadour,  Marchioness  de,  87,  98,  117 

Pompadour  stripes,  98 

Poor,  Henry  A.,  30 

Pre-Hellenic  costume,  103 

Premet,  4 

Priests,  102 

Primaries,  colors,  61 

Primitive  design,  91 


Problem,  45 
Puritans,  86 

Quaker,  86 

Raeburn,  86 

Red,  crown,  102 

Reducing,  illustrated,  29 

Reference  books,  Egyptian,  102 

Reference  books,  Gauls,  106 

Reference  books,  3d  to  11th  century,  107 

Reference  books,  11th  century,  108 

Reference  books,  12th  century,  108 

Reference  books,  13th,  14th,  and  15th  centuries.  111 

Reference  books,  17th  century,  116 

Reference  books,  18th  century,  116,  123 

Reference  books,  19th  century,  123 

Regency,  117 

Religious  orders,  84 

Rembrandt,  79 

Renaissance,  85,  97 

Renaissance  costume,  late,  illustrated,  113,  114 

Renaissance,  early,  costume  illustrated,  112 

Reproduction,  two  color  process,  68,  69 

Republic,  French,  122 

Restoration,  122 

Restoration,  costume  illustrated,  121 

Reta  Sanger,  illustrations,  13,  43,  62 

Revolution,  French,  98,  120 

Reynolds,  Sir  Joshua,  86 

Rhythm,  65 

Richter,  Preface 

Roman  costume,  104,  105 

Roman  costume  illustrated,  104 

Roman  costume  reference  books,  105,  106 

Roman  dress,  93 

Roman  history,  104 

Roman  palla,  104 

Roman  poenula,  104 

Roman  toga,  104 

Roman  tunic,  104 

Romantic  period,  122 

Romantic  period,  costume  illustrated,  121 

Romney,  86 

Ross  board,  31 

Ross  board,  illustrated,  33 

Royal  gardens,  97 

Rubens,  86 

Ruff,  114 

Running,  illustrated,  22 


Page  One  Hundred  Forty-four 


INDEX 


Saint  Catherine,  betrothal  of,  95 

Scale,  in  design,  79 

Scale  of  color,  61 

Scroll  motif,  illustrated,  94 

Sculpture,  Greek  and  Roman,  131 

Second  Empire  costumes,  illustrated,  1'2'2 

Senger,  EeU,  13,  43,  54.  64 

Seventeenth  century,  86 

Seventeenth  century  costume  illustrated,  114 

Seventeenth  century  dress,  ll(i 

Shade,  61 

Shakers,  87 

Shawl,  n-2 

Shawl,  Indian,  98 

Shawl,  Paisley,  98 

Shawls,  123 

Shepherd  kings,  101 

Shepherd  plaid,  37 

Shoes,  19,  ii 

Shoes,  illustrated.  7,  18,  34,  35 

Side  plaits,  38 

Significance,  color,  06,  07 

Silhouette.  34-30 

Silhouette,  fashion,  83 

Siliiouelte.  half-tone,  illustrated.  43 

Silhouette,  illustrated.  36,  87 

Silhouette,  period  illustrated.  80 

Silhouette,  value  of,  83 

Silks,  oriental.  Ui 

Silver  print.  32 

Sixteenth  century,  85-86 

Sixteenth  century  eostunic  illustratecl.  111.  11 

Sixteenth  century  costume  reference  Ixxiks.  1 1 

Sixteenth  century  dress,  113,  114 

Sixteenth  and  .seventeenth  centuries,  97 

Sketch,  dressmaker's,  9 

Sketch,  manufacturer's,  9 

Sketching.  10 

Sketching,  for  manufacturer  ,  4 

Sketching,  garment,    -5 

Sketching,  life,  7 

Sketching,  memory,  4 

Slashed  costumes,  113.  114 

Sleeves,  88 

Smith,  Jessie  Wilcox,  10 

Soulie,  54,  124 

Spatter  work.  31,. 32 

Spatter  work,  illustrated,  33 

Split  complementary  harmony,  05 

Sport  suit,  54 


Spotting,  53 

Squares,  ruled,  32 

Standing,  illustrated,  22 

Steinmetz,  53 

Steinmetz,  E.  M.  G.,  illustration,  56,  60 

Stipple,  34 

Stipple,  illustrated,  34 

Stitcliing.  38 

Stitching,  illustration,  5 

Stock.  116 

Stockings,  110 

Straps,  Egyptian  hanging,  102 

Stripes,  37 

Stripes,  illustrated.  5.  41 

Stripes,  Marie  Autoinotte,  98 

Stripes,  Ponii)adoiir,  98 

Surcot,  110 

Surcot,  illustratetl,  95,  109 

Swastika,  91 

Swipe  collection,  30 

Swipe  collection,  illustrated.  37,  38 

Symbols,  Egyptian.  l()'-2 

Syrian  weavers.  93 

Tapestries.  Gothic,  83.  84 

Theatrical  illustration.  6 

Theory,  color,  63 

Third  to  eleventh  century  dress.  100.  107 

Thirteenth   and   fourteenth   century   costume   illus- 
trated. 109 

Thirteenth  century  dress,  110 

Tliirteenth  century  reference  books,  111 

'!"<(hniq\ie  catalogue  illustrated,  30.  31,  35,   11,  42, 
47.  51.  .52.  .58 

Te<-htiique,  color,  9 

Technique,  crayon  pencil,  50 

Tc(luii(iue,  crayon  pencil  illustrf 

Tc(hni<|ue,  decorating,  40 

Technique,  decorative,  illustrat<' 

Techni(|Ue,  decorative  half-tone 

Technique,  detail.  37-38 

Techni(|ue,  detail,  illustrated,  4'^ 

Technique,   mechanical,  see   15c 
Silver  Print,  Ross  Board,  etc. 

Technique,  pattern  pen  and  ink.  40 

Techni{|ue,  pen  and  ink.  38-41 

Tecluii(|ue,  pencil,  3 

Technique,  realistic,  illustrated,  35,  42,  47,  51 

Technique,  silhouette,  34-37 

Technique,  sketching,  3-10 


7,  .50,  124 


44.  45.  53 

list  rated.  56 


Day,  Ail 


Bv 


INDEX 


Page  One  Hundred  Forty-five 


Technique,  stipple,  34 

Technique,  wash,  47-50 

Tempera,  show  card  colors,  71 

Tertiary  colors,  61 

Textile  designing,  54-57 

Textile  designing,  illustrated,  55 

Texture,  of  paper.  Si 

Textures,  37,  38 

Tint,  61 

Toga,  Roman,  104 

Tone,  61 

Toothpick  construction,  22 

Toothpick  construction,  applied,  23 

Torso,  14 

Tracing,  32 

Transferring,  32 

Transaction,  period,  97 

Treatment,  decorative,  38 

Triad  harmony,  65 

Triangular  erection,  101 

Trianon,  Petit,  120 

Trimmings,  37 

Trimmings,  illustrated,  5 

Trunk  motive,  illustrated,  94 

Tucks,  38 

Tucks,  illustration,  5 

Tulle,  illustrated,  9 

Tunic,  Roman,  104 

Twelfth  century,  costume  illustrated, 

Twelfth  century,  dress,  108 

Underwear,  illustrated,  52,  64 

Valliere,  Mile,  de  la,  116 

Value,  62 

Value,  color,  66 

Values,  52 

Vanderpoel,  illustration,  20,  21 


Vanderpoel,  J.  H.,  Preface,  19 
Van  Dyke,  86 
Valasquez,  86 
Vertical  lines,  75 
Vertugale,  113 
Vest,  116 
Victoria,  121 
Vignette,  illustrated,  39 
Vulture,  Egyptian,  102 

Waist,  normal,  122 

Waistcoat,  116 

Walking,  illustrated,  22 

Warm  color,  61 

Wash,  advertising,  47-48 

Wash,  catalogue,  48 

Wash,  decorative,  48,  50 

Wash,  editorial,  47 

Wash,  layout  illustrated,  41 

Wash,  materials,  48 

Wash,  methods,  49-50 

Wash,  pattern,  47 

Wash,  pattern  work,  48 

Wash,  realistic,  48 

Wash,  sketching,  48 

Wash  work,  47-50 

Watteau,  86 

Watteau  costume,  illustrated,  117 

Wattean  plait,  118 

Watteau  styles,  120 

Weaving,  93 

Weeks,  illustrated,  3 

White,  Chinese,  37 

White,  crown,  102 

William  IV,  121 

William  the  Conqueror,  107 

Wimple,  illustrated,  83 

Women,  Egyptian,  102 


^683 


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UNIVERSITY  PRODUCTS,  INC.    #859-5503 


BOSTON   COLLEGE 


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